AVBOB STEP 12 English Paper #2 Digital

Your Examination
Preparation Guide
ENGLISH
HOME
GRADE
AND FIRST
12 ADDITIONAL
LANGUAGE
PAPER 2 (LITERATURE)
Supported by
FOREWORD BY THE HONOURABLE MINISTER OF BASIC EDUCATION
Our shared goal is continually to improve learner performance. This is an effort which is
strengthened through close collaboration between the Basic Education Sector and the South
Africa’s private and public sectors.
It gives me great pleasure to inform you that you have been favoured with the AVBOB STEP
12 Examination Preparation Guides for South Africa’s Grade 12 languages, a product of a
long-standing partnership between the Department of Basic Education and AVBOB.
Through these guides, AVBOB aims to provide language examination support to all Grade
12 teachers and learners. These guides will serve as a valuable self-help resource for
learners.
Through AVBOB STEP 12, AVBOB is making available 33 Examination Preparation

Guides, each meticulously compliant with the Curriculum and Assessment Policy Statement
(CAPS); and written in accordance with the most recent Examination Guidelines for the
twelve South African languages offered in Grade 12. Teachers, learners and interested
parties, may download these guides at no cost from www.avbobstep12.co.za.
The initial set of AVBOB STEP 12 Examination Preparation Guides – in all 11 official South
African languages, comprises one guide for each of the three National Senior Certificate
examination papers, and covers both Home and First Additional Languages:
1. Language in context;
2. Literature; and
3. Creative Writing.
Each guide covers themes as directed in the curriculum and focuses on important areas
covered in the examination papers. By paying attention to time management in the exams,
the AVBOB STEP 12 guides can also assist learners in alleviating anxiety and stress.
As the Department of Basic Education, we encourage Grade 12 language teachers and

other educators of Grade 12 learners to embrace the AVBOB STEP 12 Examination
Preparation Guides, which we have reviewed and supported, as valuable additional
resources within their education toolkits.
On behalf of the Department of Basic Education
Mrs Angie Motshekga, MP

South African Minister of Basic Education
Date: 21 April 2023
Table of contents
1 Introduction 01
2 Structure of Paper 2 02
3 Contents: How do I answer Paper 2? 05
3.1 Section A/Section D* : Poetry 05

3.1.1 How do I answer the questions on poetry? 05
3.1.2 Section A: Question 1 06
3.1.3 Section A: Questions 2-5/Section D: Question 6 07
3.2 Section B/Section A* : Novel 08

3.2.1 How do I answer the essay questions on the novel? 08
3.2.2 How do I answer the contextual questions on the novel? 09
3.3 Section C/Section B* : Drama 09

3.3.1 How do I answer the essay questions on the drama? 09
3.3.2 How do I answer the contextual questions on the drama? 10
3.4 Section C: Short Stories (First Additional Language only)* 10
4 List of literary terms 11

5 Example questions and model answers 26
5.1 Home Language: Example questions 26

5.1.1 Section A: Poetry 26
5.1.2 Section B: Novel 33
5.1.3 Section C: Drama 35
5.2 Home Language: Model answers 38

5.2.1 Section A: Poetry 38
5.2.2 Section B: Novel 43
5.2.3 Section C: Drama 45
5.3 First Additional Language: Example questions* 47

5.3.1 Section A: Novel 47
5.3.2 Section B: Drama 49
5.3.3 Section C: Short stories 51
5.3.4 Section D: Poetry 56
5.4 First Additional Language: Model answers* 60

5.4.1 Section A: Novel 60
5.4.2 Section B: Drama 61
5.4.3 Section C: Short stories 62
5.4.4 Section D: Poetry 65
* First Additional Language sections

1. Introduction
This Examination Preparation Guide is designed to assist you to improve your achievement in Paper 2 (Literature).
The Examination Preparation Guide consists of two parts: a discussion of the structure of Paper 2, followed by
an overview of the content aspects of the paper. Knowledge of both these components is necessary to succeed
in Paper 2.
The structure and contents of Paper 2 are based on the Curriculum and Assessment Policy Statement (CAPS)
prescribed by the Department of Basic Education as a compulsory teaching and examination guide. Ask your
teacher to show you the CAPS document (and also the most recent examination guidelines) so you can see
first-hand what is prescribed for Paper 2.
This Examination
Preparation Guide does
not intend to overload you
with facts and information
but rather to GUIDE you
in the right direction. It is
not a subject textbook and
will, therefore, not cover
all the information of the
syllabus. Core aspects and
key notions will be brought
to your attention. You
must still do the work and
develop your potential.
YOU SHOULD KNOW WHAT THE CAPS SAYS
Where Home Language and First Additional Language differ, the information on First
Additional Language will be indicated with a green border.
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2. Structure of Paper 2
Read the following information carefully because it will help you to answer the paper correctly.
HOME LANGUAGE
You have 2½ hours (150 minutes) to answer Paper 2. The total number of marks for the paper is 80 marks.
The paper consists of three sections: Section A (Poetry), Section B (Novel) and Section C (Drama). Answer questions from
all three sections.
Section A (Question 1-5) is for 30 marks. Questions 1-4 are on prescribed poems of which you must choose two to
answer. Question 5 is on an unseen poem and is compulsory to answer.
Section B is for 25 marks and comprises an essay question and a contextual question of which you must choose one
to answer on the novel you studied. If you do the essay question in Section B, you have to do the contextual question in
Section C, and vice versa.
Section C is for 25 marks and comprises an essay question and a contextual question of which you must choose one to
answer on the drama you studied. If you do the essay question in Section C, you have to do the contextual question in
Section B, and vice versa.
Tips!
You do not have to read through the whole question paper.
Answer only the questions on texts that you studied
during the year.
Consult the table of contents on page 4 of the
question paper.
Use the checklist on page 5 of the question paper to
ensure that you have answered the correct number of
questions and number the questions that you have done.
Answer questions from all THREE sections.
TABLE OF CONTENTS (EXAMPLE)

The table of contents in the question paper will assist you in choosing questions to answer, without you having to read
through the entire question paper. The following is an example of what the table of contents may look like:
PAPER 2: 2½ HOURS, 80 MARKS, 3 SECTIONS
SECTION A: POETRY
Prescribed poems: Answer any two questions.
QUESTION NUMBER QUESTION MARKS PAGE
1. African Thunderstorm Essay question 10 6
2. Remember Contextual question 10 8
3. A Hard Frost Contextual question 10 10
4. African Elegy Contextual question 10 12
Unseen poem: Compulsory
5. Seed Contextual question 10 14
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SECTION B: NOVEL
Answer one question.
If you do the essay question in Section B, you have to do the contextual question in Section C, and vice versa.
6. The Picture of Dorian Gray Essay question 25 15
7. The Picture of Dorian Gray Contextual question 25 15
8. Life of Pi Essay question 25 18
9. Life of Pi Contextual question 25 18
SECTION C: DRAMA
Answer one question.
If you do the essay question in Section C, you have to do the contextual question in Section B, and vice versa.
10. Hamlet Essay question 25 22
11. Hamlet Contextual question 25 22
12. Othello Essay question 25 26
13. Othello Contextual question 25 26
14. The Crucible Essay question 25 28
15. The Crucible Contextual question 25 29
FIRST ADDITIONAL LANGUAGE

You have 2 hours (120 minutes) to answer Paper 2. The total number of marks for the paper is 70 marks.
The paper consists of four sections: Section A (Novel), Section B (Drama), Section C (Short stories) and Section D (Poetry).
Choose questions from two sections.
Read the instructions at the start of the paper carefully and make sure you understand all instructions.
Section A is for 35 marks and comprises four contextual questions. Choose only one question on the novel that you
studied at your school.
Section B is for 35 marks and comprises three contextual questions. Choose only one question on the drama that you
studied at your school.
Section C is for 35 marks. Answer all the questions on both short stories.
Section D is for 35 marks. Answer all the questions on both poems.
Tips!
You do not have to read through the whole question paper.
Answer only the questions on texts that you studied
during the year.
Consult the table of contents on page 4 of the
question paper.
Use the checklist on page 5 of the question paper to
ensure that you have answered the correct number of
questions and number the questions that you have done.
Answer questions from TWO sections.
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TABLE OF CONTENTS (EXAMPLE)
The table of contents in the question paper will assist you in choosing questions to answer, without you having to read
through the entire question paper. The following is an example of what the table of contents may look like:
PAPER 1: 2 HOURS, 70 MARKS, 4 SECTIONS
SECTION A: NOVEL
Answer only one question on the novel that you studied at your school.
QUESTION NUMBER QUESTION MARKS PAGE
1. Cry, the Beloved Country Contextual question 35 5
2. Strange Case of Dr Jekyll
Contextual question 35 10
and Mr Hyde
SECTION B: DRAMA
Answer only one question on the drama that you studied at your school.
3. Macbeth Contextual question 35 15
4. My Children! My Africa! Contextual question 35 19
SECTION C: SHORT STORIES

Answer all the questions on both short stories.
5.1 The Doll’s House 5.1.1-5.1.8 18 21
5.2 The Fur Coat 5.2.1-5.2.8 17 23
SECTION D: POETRY
Answer all the questions on both poems.
6.1 Captive 6.1.1-6.1.8 17 25
6.2 Still I Rise 6.2.1-6.2.8 18 27
What kind of questions can I expect?

Some questions will be easy, some will be at a medium level of difficulty, while others will be difficult. There may, however, be a
few very difficult questions – keep calm and answer all the questions to the best of your ability.
40% of the questions test your understanding of the text (words, sentences, paragraphs). You will find the answers to the
questions directly in the text.
40% of the questions assess your ability to make inferences. You won’t find these answers directly in the text – the
information in the text is a point of departure, which enables you to infer the answers from the information in the text. You
must understand the text well to answer these types of questions.
20% of the questions focus on your ability to get insight on the text, apply the information in new situations, analyse it and
arrive at appropriate judgements/evaluation. You must understand the text very well to answer these types of questions.
The literary works and questions presented in this guide are just
EXAMPLES of what can be expected in the final examinations.
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3. Contents: How do I answer Paper 2?
Thorough knowledge of the contents of the prescribed books and poems that you’ve studied is important when answering
Paper 2. A vague knowledge of the content, summaries and notes will not take you far. You need to read and study the
texts a few times so that you know and understand the content. You must also understand the structure of the content
and be able to answer questions about it, such as Who? What? Where? When? How? With what? When? Why? Why not?
Just telling the story will earn you limited marks – you need to know and understand how the different parts of the novel/
drama/short story/poem are put together, i.e. you must be able to interpret, deduce, draw conclusions and form a pattern
of events from the words, situations, actions, motives, consequences, etc. in the prescribed texts. If you study your
prescribed texts thoroughly, you will achieve excellent marks!
3.1 Section A/Section D: Poetry

Home Language First Additional Language
Section A Section D
30 marks 35 marks
Answer two questions on the prescribed poems and one
Answer all the questions (Question 9)
question on the unseen poem
Question 1
No essay question
Essay question (250-300 words, 10 marks)
All the questions are contextual
Optional
Questions 2-4
Contextual questions (10 marks each) _
Optional
Question 5
Contextual questions (10 marks) _
Compulsory
3.1.1 How do I answer the questions on poetry?

To give quality answers, you must understand not only the reading passage but also the questions. Here is an approach to
help you with that:
Read the title of the poem a few times and try to establish what the title attempts to convey.
Glance through the poem for a cursory impression of its contents.
Read the questions briefly to get an idea of the scope of the questions.
Choose on which two of the prescribed poems you will answer questions.
Read the first poem once more, but this time attentively, bearing the questions in mind.
Now, you can start answering the questions – make sure you read each question very carefully:
– Start with the first question and underline the keyword(s) of the question.
– Allow these keyword(s) to lead you to find an answer to the question.
– Before you write down the answer, ask yourself: Does my response address the question?
– Follow the same procedure with all the questions that follow.
As you apply this approach, keep the following in mind:

If you don’t know the meaning of a word, try to find a clue from the context in which the word is used – sometimes it helps
you to find the meaning of the word.
Provide BOTH sides of the matter with questions on similarity, difference, contrast, comparison and irony, for example,
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Question:
What is the difference between the first and last line?
Answer:
The first line paints a sad atmosphere, but the last line reflects a cheerful mood.
To just indicate the mood in the last line would be incomplete – BOTH sides should be mentioned (atmosphere/mood in the
first AND last line). The same principle applies to questions on contrast, similarity, comparison and irony.
When a question asks for one-word answers only, you must give only the one word.
When a question asks for more than one word, check whether the question requires two (or more) separate words or
consecutive words – then answer the question accordingly.
If a question asks for a verbatim quotation from the text, the quotation must be written exactly as it appears in the text,
without any mistakes (spelling, punctuation, etc.).
When a question consists of more than one part, ensure that you answer the questions in the same sequence in which
the parts appear.
If you are asked to answer YES/NO, TRUE/FALSE, AGREE/DON’T AGREE, always add a motivation to your answer. Make sure
that your motivation fits the YES or NO (or other possibilities), for example,
If you answer YES, the motivation should not support the NO answer because you will lose marks in such as case.
First write the YES or NO (or other possibilities) then provide the motivation.
The order of most questions follows the order of the poem, although that is not always the case. There can be questions
that refer to a previous line or touch on subsequent lines – be ready to go backward or forward in the poem.
If a question asks the relation between two lines/sentences/texts/opinions, etc., ensure that you understand the key
notions of the question thoroughly and then identify the linking ideas in the two lines/sentences/texts/opinions, etc.
Determine what the relation is and write you answer in a clear and direct manner.
Open-ended questions: When a question starts with “Do you think …?” the answer is not necessarily in the text, so you
have to provide your own, independent answer. That does not mean you can provide just any answer. Your own, independent
answer should still link with the text(s) provided. You must add value to the texts(s) with your own, unique, original insight.
The length (and sometimes depth) of an answer depends on the mark(s) allocated to that question. Therefore, take careful
note of the mark allocation for every question and write your answers according to the marks allocated for each, for
example,
For three marks, you cannot provide just one point as an answer. Or for one mark, you must not write three long paragraphs.
The marks indicated for each question signal how much or how little you need to write
Usually you have to provide one fact for one mark. However, sometimes an extension of a fact is expected – in this case
you must provide more information for additional marks.
3.1.2 Section A: Question 1

HOME LANGUAGE (only): This is an essay question (literary essay). Keep the following in mind:
Write a 250-300-word essay (if you choose to answer this question).
This question is not compulsory.
The question is on one of the prescribed poems and is for 10 marks.
Provide at least seven but no more than 10 points on the topic.
Start your essay with a short introduction (that relates to the question).
Your essay must consist of statements that are suitably motivated by referring to the poem.
Page 06
A logical flow of motivated statements will earn you a high mark.
Pay attention to the focus of the question and concentrate on that.
Conclude your essay appropriately.
See an example of how such a question can be asked and
answered on pages 26, 30, 38 and 41.
Structure tips!
Write the point.
Explain the point.
Provide evidence from the text to

substantiate your point.
Link your point to the question.
3.1.3 Section A: Questions 2-5/Section D: Question 6

These are contextual questions. Keep the following in mind:
For the contextual questions, you can expect a balance of easy, moderate and difficult questions.
Some questions will focus on facts from the poems, others will test your insight by requiring you to make inferences, while
others will require your own interpretation, appreciation/evaluation and view/conclusion.
For questions that include “do you think”, don’t try to find the answer verbatim in the poem. Instead, you should use the
information in the poem to provide your own (valid) interpretation, evaluation or conclusion. Your answer should relate
directly to the poem.
Note the mark allocation for each question. A question that, for example, counts three marks requires more information
than a question that counts only one mark.
See an example of such questions and how they can be answered on pages 27-29, 31-32, 56-59 and 65-67.
HOME LANGUAGE: You can choose TWO QUESTIONS from Questions 1, 2, 3 and 4, but Question 5 is compulsory.
You must understand of the content and meaning of the poem – WHAT does the poem want to convey?
It’s important that you understand the poems well, but to be successful in the examinations, you must be able to identify
technical aspects when you analyse a poem.
A combination of technical aspects in poems has a specific aim and highlights a specific matter.
Ensure that you understand the meaning and function of the technical aspects, such as literary devices, mood or tone.
Ensure that you understand the instruction words in each question.
See the list of literary terms on pages 11-25.
Ask your teacher to provide proper guidance on ways to understand and apply
instruction words and on the assessment words that are used in Paper 2.
The CAPS document can assist with this.
Page 07
3.2 Section B/Section A: Novel
Section B Section A
25 marks 35 marks
Answer one question Answer one question
One question is an essay question and the others are No essay question
contextual questions All the questions are contextual
If you do the essay question in Section B, you have to do the
–
contextual question in Section C, and vice versa.
Schools don’t all study the same novel. Note the question numbers applicable to the novel that you studied.
3.2.1 How do I answer the essay questions on the novel?

HOME LANGUAGE (only): To deliver high quality answers, you need to choose the right question (here and in Section C). Here
is an approach to help you with that:
Read the essay question attentively and determine what it expects of you.
Now read through the contextual questions.
Then read the essay and contextual questions in Section C (Drama), as you did for Section B.
Decide whether you want to answer the essay or contextual question in Section B.
Remember: If you answer the essay question in Section B, you have to do the contextual question in Section C, and vice versa.
Should you choose to answer the essay question, keep the following in mind:
Your response should be 400-450 words.
Start your essay with a suitable introductory paragraph that relates appropriately to the question asked.
Your essay should consist of statements accompanied by motivations from the novel.
A logical flow of motivated statements will add much value to your essay.
Retelling the story (plot) is not enough – you must understand the focus of the question and concentrate on that.
Conclude your essay with a suitable final paragraph, in which you come to a relevant conclusion, or summarise/confirm
the core of your answer.
See an example of how such a question can be asked and
answered on pages 33 and 43.
Structure tips!
Write the point.
Explain the point.
Provide evidence from the text to

substantiate your point.
Page 08
3.2.2 How do I answer the contextual questions on the novel?
For the contextual questions, keep the following in mind:
One or two extracts are presented as points of departure to pose questions on the whole novel.
Very few answers will come directly from the extracts provided. This is not a reading comprehension (as in Section A of
Paper 1) – questions will cover the whole novel. You are thus expected to have a good knowledge of the whole novel to
answer the contextual questions.
The extracts are an aid to guide you on the correct answers.
Note the mark allocation for each question. A question for (for example) three marks expects more information than a
question for only one mark.
Some questions will focus on facts from the novel only, others will test your ability to make inferences and show insight,
while others will require your own interpretation/appreciation/evaluation and opinion/conclusion.
For questions that include “do you think”, don’t try to find the answers as fact in the novel. Instead, you should use the information
in the novel to provide your own interpretation, evaluation or conclusion. Your answer should relate directly to the novel.
See an example of such questions and how they can be answered on pages 33-34, 43, 47-48 and 60-61.
3.3 Section C/Section B: Drama

Section C Section B
25 marks 35 marks
Answer one question Answer one question
One question is an essay question and the others are No essay question
contextual questions All the questions are contextual
If you do the essay question in Section C, you have to do the
–
contextual question in Section B, and vice versa.
Schools don’t all study the same drama. Note the question numbers applicable to the drama that you studied.
3.3.1 How do I answer the essay questions on the drama?

HOME LANGUAGE (only): Should you choose to answer the essay question, keep the following in mind:
Your response should be 400-450 words.
Begin your answer with a suitable introductory paragraph that relates appropriately to the question asked.
Your essay should consist of statements accompanied by motivations from the drama.
A logical flow of motivated statements will add much value to your essay.
Retelling the story (plot) is not enough – you must understand the focus of the question and concentrate on that.
Conclude your essay with a suitable final paragraph, in which you come to a relevant conclusion, or summarise/confirm
the core of your answer.
See an example of how such a question can be asked and answered on pages 35 and 43.
Page 09
Structure tips!
Write the point.
Explain the point.
Provide evidence from the text to substantiate your point.
3.3.2 How do I answer the contextual questions on the drama?

For the contextual questions, keep the following in mind:
One or two extracts are presented as points of departure to pose questions on the whole drama.
Very few answers will come directly from the extracts provided. This is not a reading comprehension (as in Section A of
Paper 1) – questions will cover the whole drama. You are thus expected to have a good knowledge of the whole drama to
Note the mark allocation indicated for each question. A question for (for example) three marks expects more information
than a question for only one mark.
Some questions will focus on facts from the drama only, others will test your ability to make inferences and show insight,
while others will require your own interpretation/appreciation/evaluation and opinion/conclusion.
For questions that include “do you think”, don’t try to find the answers verbatim in the drama. Instead, you should use the information
in the drama to provide your own interpretation, evaluation or conclusion. Your answer should relate directly to the drama.
See an example of such questions and how they can be answered on pages 35-37, 46, 49-51 and 61-62.
3.4 Section C: Short Stories (First Additional Language only)

First Additional Language
Section C
35 marks
Answer all the questions on both short stories
No essay question
All the questions are contextual
For these contextual questions, keep the following in mind:
One or two extracts are presented as points of departure to pose questions on the whole short story.
Very few answers will come directly from the extracts. This is not a reading comprehension (as in Section A of Paper 1)
– questions will cover the whole short story. You are thus expected to have a good knowledge of the whole short story to
Note the mark allocation indicated for each question. A question for (for example) three marks expects more information
than a question for only one mark.
Some questions will focus on facts from the short story only, others will test your ability to make inferences and show
insight, while others will require your own interpretation/ appreciation/evaluation and opinion/conclusion.
For questions that include “do you think”, don’t try to find the answers verbatim in the short story. Instead, you should use
the information in the short story to provide your own interpretation, evaluation or conclusion. Your answer should relate
directly to the short story.
See an example of such questions and how they can be answered on pages 51-55 and 62-65.
Page 10
4. List of literary terms
Although it’s important that you have a good understanding of the content of the poetry, novel and drama (and short
stories), this is not enough to ensure success in the examination. Below is a list of literary terms, with explanations and
examples, which will assist you in making sense of some questions in Paper 2. If you understand these terms, you will
be better able to answer questions that contain them or require their application.
YOU NEED TO STUDY THESE TERMS!
ADDRESSEE
This is the person who is addressed by the speaker – the person with whom the speaker communicates in a given text, for example:

In Remember the addressee is the speaker’s beloved
In the poem Funeral Blues the reader is the addressee. (she encourages him to remember her after her death,
even when his memory of her begins to fade).
ALLITERATION
A sound pattern that includes the repetition of consonant sounds in words close to one another, for example,

The curbed ferocity of beaten tribes They passed again through the great gate in the grim
The sullen dignity of their defeat high wall, ...
From: Zulu Girl From: Cry, the Beloved Country
ANTICLIMAX
When an expectation of some high point of importance or excitement is not fulfilled or the seriousness of a literary plot is suddenly
lost as a result of a comical, digressive or meaningless event, for example,

Several of these occur in Life of Pi, for example, when Pi
In Next Door it is expected that Mr Harger will be killed by
finds Richard Parker on the raft, and it is expected that the
his mistress; instead she fires shots blindly.
tiger will kill Pi, but this does not happen.
ANTITHESIS
The expression of two opposed or different ideas in balanced contrast. The placing of contradicting/contrasting ideas next to each
other, for example,

I do not know what it is about you that closes and opens though growth strangles it to near extinction;
From: somewhere i have never travelled, gladly beyond From: Everything has changed
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ANTONOMASIA
Naming by means of typical detail, such as the use of a proper noun as a common noun to express a general understanding, the
substitution of an epithet or title for a proper name, or the use of a proper name to express a general idea, for example,

In Othello, the character Othello is called the moor because When Macbeth is called the Scottish play (not in the
he is dark-skinned. prescribed text).
APOSTROPHE
The apostrophe may be used to address a person in his/her absence, for example,

How far from then forethought of, all thy more boisterous years But thy eternal summer shall not fade
From: Felix Randall From: Sonnet 18
ASSONANCE (VOWEL RHYME)

The repetition (mostly) of vowel sounds in two or more words that is often used in prose or poetry, for example,

… you open always petal by petal myself as Spring opens When weeds, in wheels, ...
From: somewhere i have never travelled, gladly beyond From: Spring
ASYNDETON
The omission of conjunctions between words or sentences to shorten the thought or to enhance a quick flow of ideas, for example,

I came. I saw. I conquered. I came. I saw. I conquered.
By: Julius Caesar (not in the prescribed text) By: Julius Caesar (not in the prescribed text)
ATMOSPHERE
The mood of the characters linked to a specific situation in which they act, for example,

In the first stanza of Vultures the atmosphere is lifeless, In Strange Case of Dr Jekyll and Mr Hyde Victorian London
gloomy and sinister. Similarly, in An African Thunderstorm is described in dark colours, which creates a dark, ominous
an atmosphere of dread is created. atmosphere.
CHARACTERS
The persons represented in short stories, films, novels, dramas, etc. are characters. The main character is the main focus, while
secondary characters play supporting roles, for example,

Dorian Gray is the main character in The Picture of Dorian
In A chip of glass ruby Mrs Bamjee is the main character.
Gray and Othello is the main character in Othello.
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CLIMAX
The most exciting, effective or important part of a poem, drama, novel or short story. This important part is not necessarily at the
end, for example,

In The Last breath a mysterious donor has promised his
In Othello the climax of the drama is when Othello murders
corneas to Eva. She goes to hospital for an operation so
Desdemona.
there is a possibility that she might see again.
CONFLICT (INTERNAL vs EXTERNAL CONFLICT)

Internal conflict arises from opposing desires or values in a character’s mind, for example,

To be, or not to be, that is the question:
In Cry, the Beloved Country Kumalo experiences internal
Whether ’tis nobler in the mind to suffer …
conflict after he returns home to the village. He is torn as
This is an example of the internal conflict that Hamlet
to whether he is still the best person to lead his church in
experiences as he wishes to kill Claudius, his father’s
Ndotsheni. He thinks with all that has happened, maybe
murderer.
someone else should take over.
From: Hamlet
External conflict is a struggle that arises between characters/groups of characters, for example,

In The Crucible, the conflict between Abigail Williams and In My Children! My Africa! Thami feels constrained by the
Elizabeth Procter is an example of external conflict. It starts education system under apartheid, causing him to clash
when Elizabeth’s husband John has an affair with Abigail (external conflict) with his teacher, Mr. M, who has more
and escalates to end in John’s death. traditional views about life in South Africa.
CONTRAST
Contrast is a rhetorical device used to emphasise the differences between two people, places or things, for example,

i do not know what it is about you that closes and opens In Cry, the Beloved Country Alan Paton contrasts the pastoral
From: somewhere i have never travelled, gladly beyond countryside (i.e. Ndotsheni) with urban Johannesburg.
COUPLET
Two-line verses. If they rhyme, they are called rhyming couplets (some sonnets use rhyming end couplets), for example,

Put crêpe bows round the white necks of the public doves, So long as men can breathe, or eyes can see
Let the traffic policemen wear black cotton gloves. So long lives this, and this gives life to thee.
From: Funeral Blues From: Sonnet 18
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DENOTATION and CONNOTATION
Denotation is the literal or primary meaning of a word (the dictionary definition of a word), and connotation is the positive or
negative associations a word collects that go beyond literal meaning, for example,

Shall I compare thee to a summer’s day?
In Funeral Blues blue does not have its denotive meaning
In this line, a summer’s day connotes a positive, loved
as a colour, but rather connotes a feeling of sadness/
experience that is connected to a person.
depression.
From: Sonnet 18
DEVELOPMENT/INVOLUTION
The motorical moment (term as per CAPS), also known as rising action, develops and there are signs of approaching conflict, for example,

In The Picture of Dorian Gray, Basil Hallward goes to Dorian In Transforming Moments the narrator’s meeting of the
Gray’s house to ask him about the rumours he heard praise poet is a motorical moment, which leads to her life
about Dorian Gray. Dorian Gray invites Basil Hallward to changing (development). It is because of her awe of the
accompany him to his old school room to see his soul. praise poet that she writes her first poem when she returns
The ensuing development is Dorian’s murder of the only to school, which is the beginning of change and her having
real friend he has. more confidence in herself.
ELLIPSIS/MARK OF OMISSION (…)

The omission of a word or series of words. It’s indicated by a series of three dots that shows a word(s) has been omitted to leave
a sentence/line/expression incomplete or indicate a pause. There is space between the final word and the ellipsis, for example,

in easy range of cold
That infect the feeling ...
telescopic eyes …
From: Poem
From: Vultures
ENJAMBMENT/RUN-ON LINES
Enjambment is when a line of verse runs over from one line into the next without interruption by a punctuation mark. Enjambment
has various functions, such as the acceleration of tempo, increased musicality, rhyme obfuscation, etc., for example,

When all these worlds became funny to me
somewhere i have never travelled, gladly beyond
I silently waded back to you
any experience, your eyes have their silence
And amid the rubble I lay,
From: somewhere i have never travelled, gladly beyond
From: Alexandra
EUPHEMISM
An inoffensive word or phrase substituted for one considered offensive or hurtful – when you soften what you want to say to
disguise the harsh reality, for example,

In the poem Remember, Rossetti uses euphemism to And tell me they were sorry for my trouble – death is
discuss difficult subject matter: death becomes gone referred to as trouble.
away, while the afterlife is expressed as the silent land. From: Mid-term break
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EXPOSITION
It is the explanation at the beginning of a novel, drama, short story or poem that introduces the reader to the world of the novel or
drama and on which the successive acts are based, for example,

I went to the Garden of Love
In The doll’s house it is the arrival of the talked-about
And saw what I never had seen
doll’s house.
From: The Garden of Love
FIGURATIVE LANGUAGE
The use of non-literal language to refer to a literal matter. This includes simile, metaphor, personification and some idioms and
sayings and figures of speech, such as onomatopoeia, hyperbole, contrast, oxymoron, irony, metonymy, sarcasm, climax and
anti-climax, satire, euphemism, symbolism, paradox, synecdoche, litotes, antonomasia, elision, antithesis, humour, asyndeton,
polysyndeton, etc.
FREE VERSE
This kind of poem allows the poet more freedom because it has no fixed pattern. No established language rules on, for example,
punctuation and capital letters are applicable and non-traditional rhyme schemes and stanza structures are used, for example,

An African Thunderstorm is an example of free verse. Alexandra is an example of free verse.
HYPERBOLE
Deliberate exaggeration used for effect, for example,

In Macbeth, Lady Macbeth states that all the perfumes
In Life of Pi, Pi describes the sea as bottomless to
of Arabia will not sweeten this little hand, which
emphasise the depth of the water.
emphasises her guilt and how heavy it weighs on her.
IMPLY/IMPLIED MEANING/INNUENDO
To not express something directly, but rather in an indirect way so that the reader/listener needs to derive the real meaning from
the indirect expression, for example,

In The Garden of Love innuendo is apparent as the speaker
I do fear thy nature; it is too full o’ the milk of human kindness.
does not express his anger, disappointment or outrage
By saying this Lady Macbeth implies that Macbeth is a coward.
explicitly, but implies it in the phrases where flowers
From: Macbeth
should be and binding with briars his joys & desires.
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INTRIGUE
The series of events/actions that creates a situation in a short story, novel, drama, film, etc. in which various (sometimes conflicting)
elements are combined to create tense and sometimes complex situations, for example,

Throughout Strange Case of Dr Jekyll and Mr Hyde,
In The Picture of Dorian Gray, Dorian Gray gives his butler
Mr Utterson chases Mr Hyde as he tries to determine who
a letter to take to Alan Campbell. The reader is intrigued
Hyde is and how he is connected to Dr Jekyll and the
to find out what is in the note because Alan Campbell and
murders. As the facts are also a mystery to the reader,
Dorian Gray have not been friends for many years.
this creates intrigue.
INVERSION
Inversion is a reversal of the ordinary word sequence. Sometimes inversion is used to emphasise a certain word, to create
rhythm, or for rhyming purposes when a specific word is moved to the end of a line, for example,
you open always petal by petal Then to sea I rowed a boat
From: somewhere i have never travelled, gladly beyond From: Death
IRONY (including DRAMATIC IRONY)

Irony is incongruity between what is expected to be and what actually is, for example,

These deeds must not be thought after these ways; so, it
In Life of Pi the biggest irony is that having Richard Parker
will make us mad.
(a tiger) in the boat is why Pi survived seven months at sea.
In Macbeth, Lady Macbeth tells her husband this, which is
This is ironic, as we would expect the tiger to be the cause
ironic because although she tells him not to dwell on the
of Pi’s death.
murder, she cannot stop feeling guilty and thinking about it.
Dramatic irony occurs when the audience/reader is aware of a fact of which the speaker is unaware. This gives the speaker’s
words a double meaning, for example,

All hail, Macbeth. Hail to thee, Thane of Cawdor.
My lord, you know I love you
In Macbeth, the witches address Macbeth as Thane of
In Othello when Iago says this to Othello this is dramatic
Cawdor – Macbeth believes this to be a prophecy, but the
irony because although Othello does not know the truth,
audience knows that King Duncan has given orders that
the audience knows that the opposite is true – that Iago
Cawdor be placed under Macbeth’s control (as a reward for
actually hates Othello.
winning the battle).
LITOTES/UNDERSTATEMENT
When something is expressed in less significant terms, for example,

And if you are not in that classroom tomorrow you will be a
He hath not failed to pester us with message.
very, very silly boy.
From: Hamlet
From: My Children! My Africa!
Page 16
MESSAGE
The conclusion or truth about life a reader comprehends at the end of a poem, novel, play, short story, magazine article, etc.,
for example,

In Village people the message is that despite immense
In First Day after the War, there is a message of hope for suffering and poverty in the semi-desert places of Africa,
those who have suffered. qualities such as care, kindness and consideration are still
evident.
METAPHOR
Using one thing to describe another thing which has similar qualities, for example,

mate his smooth
bashed-in head, a pebble Its cow-skinned vowel.
on a stem rooted in From: To learn how to speak
From: Vultures
METONYMY
Replacement of one meaning reference with another, which actually means the same, for example,

I’ve always thought about the location as just a sort of
In The Garden of Love the green refers to the garden/park/
embarrassing backyard ...
field where the speaker used to play as a child.
MONOLOGUE
A monologue is a speech articulated aloud by a single character. It is used to express their thoughts and feelings and is directed
at another character(s), for example,

And mark this – let either of you breathe a word, or the
edge of a word about the other things, and I will come back Oh Thami, I wish I could! I’ve tried everything, but nothing
to you in the black of some terrible night and I will bring a helps. It just keeps going around and around ...
pointy reckoning that will shudder you ... From: My Children! My Africa!
From: The Crucible
MOTORICAL MOMENT
The unavoidable event in the novel/drama that leads to conflict and tension.

In Transforming Moments the narrator’s meeting of the
praise poet is a motorical moment, which leads to her life
The meeting between Lord Henry and Dorian Gray in The
changing (development). It is because of her awe of the
Picture of Dorian Gray is a motorical moment as it triggers
praise poet that she writes her first poem when she returns
tension between Basil Hallward and Dorian Gray.
to school, which is the beginning of change and her having
more confidence in herself.
Page 17
Remember: After the exposition, there is development that leads to conflict.
The development starts with a motorical moment during which events lead
to a situation of conflict. When characters collide, intrigue is created. This is
a simple explanation of a structure that varies from novel to novel/drama to
drama/short story to short story, etc.
NARRATOR PERSPECTIVE
A poem or novel can be communicated by using various narrator perspectives, for example the omnipresent narrator, first
person and third person narrator. Note the difference between an omnipresent and a third person narrator.
Ask your teacher to explain the difference between the various

narrator perspectives, especially the difference between the
omnipresent and third person narrator.
ONOMATOPOEIA
The use of words to recreate the sounds they describe (i.e. the sound of a particular word matches the meaning of the word),
for example,

And burn and shiver while I listen to the buzzing
Ululating to the mountains
Of flies that flutter vainly
From: First Day after the War
From: Captive
OXYMORON
A combination of words with contradictory meanings used deliberately for effect. An adjective is quite often added to a noun
with an opposite meaning, for example,

bitter fruit joyful trouble
From: An African Elegy From: Macbeth
PARADOX
Seemingly absurd or self-contradictory statement that actually (can) makes sense, for example,

Poor and content is rich, and rich enough
By saying this Iago tries to comfort Othello by telling him well-aimed stray bullets
that he is good enough, but is twisting his words and is From: My Children! My Africa!
saying Othello is nothing.
From: Othello
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PERSONIFICATION
Attributing human characteristics to non-human things, for example,

… then we saw her footprints, The train gathered way, to creep along the ridges of
Her face emerged, then her eyes of freedom! the hills, ...
From: First Day After The War From: Cry, the Beloved Country
POLYSYNDETON
The use of several conjunctions in close succession, for example,

And I saw it was filled with graves,
And tomb-stones where flowers should be: The baby cooed and laughed and rocked the pram
And Priests in black gowns were walking their rounds, From: Mid-term break
And binding with briars my joys & desires.
POST-POSITIONING
To shift a word/words from their normal position to the end of a line or sentence to achieve a specific effect, for example,

Then to sea I rowed a boat
and saw what I never had seen:
Thinking sure Death can’t float;
From: Death
PROGRESSION
In a poem, novel, drama or short story, there is some kind of development that leads to a climax or conclusion, this is called
progression, for example,

In The New Tribe Chester suffers from a crisis of identity
In the poem An African Thunderstorm the thunderstorm
and feels like an exile but after being told that he was
starts threatening with the build of dark clouds and ends
adopted Chester progresses to accept his circumstances,
with the thunderstorm breaking over the village.
who he is, and who his (adoptive) parents are.
PUN
When a narrator or writer “plays” with the different meanings that a word can have to convey more than one meaning
simultaneously, for example,

his Moorship (his worship) “If he be Mr Hyde,” he had thought, “I shall be Mr Seek.”
From: Othello From: Strange Case of Dr Jekyll and Mr Hyde
Page 19
REFRAIN
A refrain is a verse (line) or stanza that is repeated, for example,

And miles to go before I sleep,
... burn and shiver and listen to the buzzing
And miles to go before I sleep.
From: Captive
From: Stopping By The Woods on a Snowy Evening
REPETITION
Words, word combinations, verse lines and even stanzas that are repeated to achieve a particular effect, such as reinforcing a
thought or image, for example,

I rise
We said, ‘It is the first day after the war’.
I rise
The title of the poem is repeated.
I rise.
From: First Day After The War
From: Still I rise
RHETORICAL QUESTION
It is a question that expects no answer; the feeling or opinion of the speaker or narrator is expressed in the form of a question,
for example,

Do you see the mystery of our pain? Does my sassiness upset you?
From: An African Elegy From: Still I rise
RHETORICAL TOOLS
A way to state an argument or description more convincingly by, for example, repeating words, inserting pauses to have a
specific effect, or emphasising words.
RHYME
Words or lines of poetry that end with the same sound – vowels or diphthongs.
Full rhyme: When the final sounds of words (including vowels and diphthongs) at the end of a line sound the same, for example,

I went to the Garden of Love, Nothing is so beautiful as Spring –
And saw what I never had seen: When weeds in wheels, shoot long and lovely and lush;
A Chapel was built in the midst, Thrush’s eggs look little low heavens, and thrush
Where I used to play on the green. Through the echoing timber does so rinse and wring
From: The Garden of Love From: Spring
Page 20
The pattern according to which rhyming words at the end of lines are arranged is called the rhyme scheme, for example,
Coupled rhyme: (aa bb cc dd)

... coming soon a
... rising moon a
... of my daughter b
... animal slaughter b
... worse than that c
... and also fat c
... in the cold d
... already sold d
Alternate rhyme (abab)

... in my car a
... this poor fellow b
... way too far a
... blue and yellow b
Enclosed rhyme (abba)

... rest my case a
... on the board b
... can afford b
... a surgeon’s face a
Broken rhyme (abcb)

... in my story a
... for evermore b
... sound of silence c
... at my door b
In blank verse there are no sounds at the end of the lines that rhyme in any structured pattern, for example,
Motho Ke Motho Ka Batho Babang is an example of blank verse. Mid-term break is an example of blank verse.
Half rhyme (also called assonance or vowel rhyme) is when the vowels in words are repeated to create a certain
effect, for example,
… you open always petal by petal myself as Spring opens When weeds, in wheels, ...
From: somewhere i have never travelled, gladly beyond From: Spring
CAPS does not prescribe the sonnet, but ask your teacher to tell
you more about the Italian and English sonnets. They have interest-
ing content, stanza and rhyme patterns.
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RHYTHM
The word rhythm comes from the Greek word meaning stream. Music and song are usually rhythmic, and in nature there are
many examples of rhythmic repetition, such as day and night. In language, rhythm indicates a regular and repeated pattern
formed through intonation, stress or tempo, for example,

You may write me down in history
Remember me when I am gone away
With your bitter twisted lies,
From: Remember
From: Still I rise
SARCASM
Convey scorn or insult by mockingly saying the opposite of what is meant, for example,

Elizabeth, with sarcasm, and a sense of being lost:
Oh I see. You have got other teachers, have you?
Oh, indeed, indeed!
From: The Crucible
SATIRE
The use of ridicule to comment critically on society or an individual or a situation, for example,

The Picture of Dorian Gray is a satire of Victorian society,
In The doll’s house the class-bound mentality and
which ridicules the attention to social status that often
prejudices of the community are satirised.
precludes love.
SIMILE
Comparing one thing directly to another by using a word such as “like” or ”as”, for example,

Furred like a catkin ... like an unmade bed.
From: A Hard Frost From: Next Door
SOLILOQUY
In a soliloquy a character addresses the audience to express his/her feelings, thoughts or plans. The character is either alone onstage
or the other characters onstage do not hear their words, do not respond, and are not aware of what is taking place, for example,

Thus do I ever make my fool my purse; If it were done when ‘tis done, then ‘twere well
For I mine own gain’d knowledge should profane ... It were done quickly. If the assassination ...
From: Othello From: Macbeth
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SPEAKER
This is the person who speaks in a poem, for example,

In Mid-term break the speaker is the brother of the dead
In the poem Felix Randall the speaker is the priest who
boy. He reflects on his young brother’s tragic death and the
attended to him during his illness.
way his family and community responded to that death.
STAGE DIRECTIONS
An instruction in the text of a play indicating the extra information (movement, position, or tone of an actor, or the sound effects
and lighting) so that readers, the audience and even the actors can better understand the dialogue, intrigue and stage layout.

In My Children! My Africa! there are stage directions
In Othello when Lodovico says, “The duke and senators of
to describe Thami: He is secure and at ease ... His
Venice greet you” the stage directions read: Gives him a
“concluding statement” is outrageous and he knows it
letter, which tells the reader and actors what he does.
and enjoys it.
The examination usually includes a three- or four-mark question

in the contextual set on dramas.
STANZA/VERSE STRUCTURE
A couplet consists of two lines, a tercet has three lines, a quatrain has four lines, a sestet has six lines, and an octave has
eight lines.
Ask your teacher to tell you more about rhyming couplets

(and rhyming end couplets).
STYLE
The distinctive and unique manner in which a writer (for example) arranges words to achieve particular effects. It includes the
type of words used (for example, are many adverbs and adjectives used); sentence structure and the length of sentences;
the use of rhetorical tools; the use of punctuation; the writing of elaborate scene descriptions; or direct description of
characters. There are many ways in which style can be expressed, for example,

In Motho Ke Motho Ka Batho Babang a narrative style is In Village People the style is simple and straightforward.
used, where the reader is presented with a scene of what There is a lot of repetition and imagery. The language
is happening as the prisoners converse in sign language. and ideas used in the essay are more mature and the
The poem explains the sign/hand-coded language used by sentences are more complex. In the second story, the
the prisoners, which contributes to a drama-like style. language and the ideas are simpler.
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SUB-TITLE
The secondary title of a poem, which provides additional information regarding the nature of the poem, for example,

(A Person is a Person Because of Other People) What You Will
From: Motho Ke Motho Ka Batho Babang From: Twelfth Night (not prescribed)
SYMBOL
A symbol stands for or represents something else. It can be a word/object/sign that represents something else, usually an
abstract idea, for example,

Where I used to play on the green. Across the fence a big red cock flapped its wings and
The colour green symbolises fertility, spring and growth. crowed loudly at me, in agreement too!
Village greens were places on which children could play The crowing of the cock symbolises the start of a new life
freely without restriction. for the narrator.
From: The Garden of Love From: Transforming Moments
SYNAESTHESIA
Sound is attached to colour (or something that does not/cannot usually make a sound) or colour is attached to sound, for
example,

the voice of your eyes Sometime too hot the eye of heaven shines
From: somewhere i have never travelled, gladly before From: Sonnet 18
SYNECDOCHE
A figure of speech in which a part is substituted for a whole, for example,

Take thy face hence.
We shook up the old man demanding a festival
Thy face is synecdochical for a person. (Macbeth is simply
The old man is a synecdochical expression for the older
telling the servant to leave, but his use of synecdoche
generation who suffered under oppressive regimes and had
makes the tone of his command harsh and insulting,
little hope of attaining their freedom.
showing the audience how angry he really is.)
From: First Day after the War
From: Macbeth
THEME
The central idea or ideas in a text, for example,

The theme of the poem Death is that death is inevitable
The theme of the poem Vultures is life and humanity.
and cannot be escaped.
Page 24
TONE
Choice of words, intonation, atmosphere, change in emotional climate – these can all form part of a poem, novel, drama or short
story. The tone can, for example, be aggressive, sympathetic, sad, harmonic, happy, exciting, melancholic, etc., for example,

In Funeral Blues words like silence, muffled and In Everything has Changed the tone is reflective, as the
mourners create a tone of sadness and grief. poet thinks about the past and how it influenced him.
TYPOGRAPHY
Open spaces in a poem. It includes the way a poet, for example, use a single word in a line for a particular reason, or more
open lines between certain stanzas to achieve a specific effect, etc. Typography refers to the appearance of a poem on a page,
for example,

Let us speak, love
in gentler tones
Disrupting the slow-slow rhythm of his work.
timid as the lamb
(Later. Maybe later we can speak.)
is soft
Hey! Wat maak jy daar?
woolly words
– a voice from around the corner.
worn to stand strong against the
From: Motho Ke Motho Ka Batho Babang
cold-bitterness of the world.
From: Poem
Page 25
5. Example questions and model answers
This section contains questions and answers on poems, a novel and a drama (and short stories) similar to the type of
questions that you can expect in the examinations. These questions don’t cover all possibilities but rather aim to help you
understand the framework of the paper and practise time planning.
5.1 Home Language: Example questions
5.1.1 Section A: Poetry

This section starts with the new Grade 12 prescribed poems (for 2023 and onward).
Answer questions on any TWO prescribed poems AND on the unseen poem. (Some examples have been adapted from past
examination papers.)
Question 1: Essay question

Read the poem below and answer the question that follows.
The child who was shot dead by soldiers in Nyanga – Ingrid Jonker
1 The child is not dead 16 The child is the shadow of the soldiers
2 the child raises his fists against his mother 17 on guard with guns saracens and batons
3 who screams Africa screams the smell 18 the child is present at all meetings and legislations
4 of freedom and heather 19 the child peeps through the windows of houses
5 in the locations of the heart under siege and into the hearts of mothers
20 the child who just wanted to play in the sun at
Nyanga is everywhere
6 The child raises his fists against his father
21 the child who became a man treks through all
7 in the march of the generations
of Africa
8 who scream Africa scream the smell
22 the child who became a giant travels through the
9 of justice and blood whole world
10 in the streets of his armed pride
23 Without a pass
11 The child is not dead
12 neither at Langa nor at Nyanga
13 nor at Orlando nor at Sharpeville
14 nor at the police station in Philippi
15 where he lies with a bullet in his head
The poem illustrates the pain, loss and wasted potential in the quest for freedom. Critically discuss this statement with particular
reference to the imagery, diction and tone used in this poem. Your response should take the form of a well-constructed essay of
250-300 words (about a page).
[10]
OR
Page 26
Question 2: Contextual question
Read the poem below and answer the questions that follow.
Sonnet 130 – William Shakespeare

1 My mistress’ eyes are nothing like the sun; 8 Than in the breath that from my mistress reeks.
2 Coral is far more red than her lips’ red; 9 I love to hear her speak, yet well I know
3 If snow be white, why then her breasts are dun; 10 That music hath a far more pleasing sound;
4 If hairs be wires, black wires grow on her head. 11 I grant I never saw a goddess go;
5 I have seen roses damasked, red and white, 12 My mistress when she walks, treads on the ground.
6 But no such roses see I in her cheeks; 13 And yet, by heaven, I think my love as rare
7 And in some perfumes is there more delight 14 As any she belied with false compare.
2.1 Refer to line 1: “My mistress’ eyes are nothing like the sun”.
What impression of the mistress is created in this line? (2)
2.2 Refer to line 4: “If hairs be wires, black wires grow on her head”.
Explain what this line conveys about the mistress’ hair. (2)
2.3 Refer to lines 5-10: “I have seen roses … far more pleasing sound”.
Comment on how the sensory images in these lines convey the central message of the poem. (3)
2.4 Refer to lines 13-14: “And yet by … with false compare”.
Comment on the change of tone in these lines. (3)
[10]
OR

Read the poem below and then answer the questions that follow.
At a Funeral – Dennis Brutus

(for Valencia Majombozi, who died shortly after qualifying as a doctor)
1 Black, green and gold at sunset: pageantry 7 Oh all you frustrate ones, powers tombed in dirt,
2 And stubbled graves Expectant, of eternity, 8 Aborted not by Death but carrion books of birth
3 In bride’s-white, nun’s-white veils the nurses gush 9 Arise! The brassy shout of Freedom stirs our earth:
their bounty 10 Not Death but death’s-head tyranny scythes
4 Of red-wine cloaks, frothing the bugled dirging slopes our ground
5 Salute! Then ponder all this hollow panoply 11 And plots our narrow cells of pain defeat and dearth:
6 For one whose gifts the mud devours, with our hopes. 12 Better that we should die, than that we should lie down.
3.1 Refer to the dedication below the title of the poem: “(for Valencia Majombozi, … as a doctor)”.
Describe the atmosphere that is conveyed in this dedication. (2)
3.2 Refer to line 2: “And stubbled graves Expectant, of eternity,”
How do these words contribute to your understanding of the speaker’s feelings? (2)
3.3 Discuss how the words “Salute!” (line 4) and “Arise!” (line 9) convey the speaker’s tone. (3)
Page 27
3.4 Refer to line 12: “Better that we … should lie down.”
Comment on how the line captures the central idea of the poem. (3)
[10]
OR

Solitude – Ella Wheeler Wilcox

1 Laugh, and the world laughs with you; 17 Feast, and your halls are crowded;
2 Weep, and you weep alone; 18 Fast, and the world goes by.
3 For the sad old earth must borrow its mirth, 19 Succeed and give, and it helps you live,
4 But has trouble enough of its own. 20 But no man can help you die.
5 Sing, and the hills will answer; 21 There is room in the halls of pleasure
6 Sigh, it is lost on the air; 22 For a large and lordly train,
7 The echoes bound to a joyful sound, 23 But one by one we must all file on
8 But shrink from voicing care. 24 Through the narrow aisles of pain.
9 Rejoice, and men will seek you;

10 Grieve, and they turn and go;
11 They want full measure of all your pleasure,
12 But they do not need your woe.
13 Be glad, and your friends are many;
14 Be sad, and you lose them all, –
15 There are none to decline your nectared wine,
16 But alone you must drink life’s gall.
4.1 What image is created by the title “Solitude”? (2)

4.2 Refer to lines 9-16: “Rejoice and men … drink life’s gall”.
Discuss the paradoxical images contained in these lines. (2)
4.3 Refer to lines 17-22: “Feast, and your … and lordly train”.
Explain how these lines convey the mood of the speaker. (3)
4.4 Refer to lines 23-24: “But one by one … aisles of pain”.
Critically comment on the suggestion made in these lines. (3)
[10]
AND
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Unseen poem (compulsory)

Read the poem below and answer the questions.
Seed – Paula Meehan
1 The first warm day of spring 9 I am suddenly grateful and would
2 and I step out into the garden from the gloom 10 offer a prayer if I believed in God.
3 of a house where hope had died 11 But not believing, I bless the power of seed,
4 to tally the storm damage, to seek what may 12 its casual, useful persistence,
5 have survived. And finding some forgotten 13 and bless the power of sun,
6 lupins1 I’d sown from seed last autumn 14 its conspiracy with the underground,
7 holding in their fingers a raindrop each 15 and thank my stars the winter’s ended.
8 like a peace offering, or a promise, Glossary: 1lupins – flowering plants
5.1 Refer to lines 2-4: “and I step out … seek what may”.
Explain what these lines convey about the speaker’s state of mind. (2)
5.2 Refer to lines 13-14: “and bless the … with the underground”.
Suggest why the speaker uses the word “conspiracy” to describe the relationship between the sun and the soil. (2)
5.3 Refer to lines 5-8: “And finding some … or a promise”.
Discuss the effectiveness of the imagery in these lines. (3)
5.4
The speaker identifies with the seed (line 11).
With close reference to the poem, critically discuss the validity of this statement. (3)
[10]
TOTAL SECTION A: 30
Page 29
Here follow the previously prescribed poems (applicable until the end of 2022).
Question 1A: Essay question

Read the poem below and answer the question that follows.
An African Thunderstorm – David Rubadiri

1 From the west 15 In the village
2 Clouds come hurrying with the wind 16 Screams of delighted children,
3 Turning sharply 17 Toss and turn
4 Here and there 18 In the din of the whirling wind,
5 Like a plague of locusts 19 Women,
6 Whirling, 20 Babies clinging on their backs
7 Tossing up things on its tail 21 Dart about
8 Like a madman chasing nothing. 22 In and out
23 Madly;
9 Pregnant clouds 24 The wind whistles by
10 Ride stately on its back, 25 Whilst trees bend to let it pass.
11 Gathering to perch on hills
12 Like sinister dark wings; 26 Clothes wave like tattered flags
13 The wind whistles by 27 Flying off
14 And trees bend to let it pass.
28 To expose dangling breasts
29 As jagged blinding flashes
30 Rumble, tremble and crack
31 Amidst the smell of fired smoke
32 And the pelting march of the storm.
The storm in An African Thunderstorm is a frightening, chaotic ruthless force. With reference to diction, imagery and tone, critically
discuss this statement. Your response should take the form of a well-constructed essay of 250-300 words (about a page).
[10]
OR
Page 30
Question 2A: Contextual question
A Hard Frost – Cecil Day Lewis

1 A frost came in the night and stole my world 11 Mockery spring, to lend this bridal gear
2 And left this changeling for it – a precocious 12 For a few hours to a raw country maid,
3 Image of spring, too brilliant to be true: 13 Then leave her all disconsolate with old fairings
4 White lilac on the windowpane, each grass-blade 14 Of aconite and snowdrop! No, not here
5 Furred like a catkin, maydrift loading the hedge. 15 Amid this flounce and filigree of death
6 The elms behind the house are elms no longer 16 Is the real transformation scene in progress
7 But blossomers in crystal, stems of the mist 17 But deep below where frost
8 That hangs yet in the valley below, amorphous 18 Worrying the stiff clods unclenches their
9 As the blind tissue whence creation formed. 19 Grip on the seed and lets our future breathe.
10 The sun looks out, and the fields blaze with diamonds.
2.1 Refer to line 1: “A frost came in the night and stole my world”.
What impression of the frost is created in this line? (2)
2.2 Refer to line 3: “Image of spring, too brilliant to be true”.
How do these words contribute to your understanding of the speaker’s feelings? (2)
2.3 Refer to lines 11-14: “Mockery spring … aconite and snowdrop!”
Discuss how the imagery in these lines conveys the speaker’s tone. (3)
2.4 Refer to lines 17-19: “But deep below … our future breathe.”
Comment on how these lines capture the central idea of the poem. (3)
[10]
OR

The Garden of Love – William Blake

1 I went to the Garden of Love, 9 And I saw it was filled with graves,
2 And saw what I never had seen: 10 And tomb-stones where flowers should be:
3 A Chapel was built in the midst, 11 And Priests in black gowns, were walking their rounds,
4 Where I used to play on the green. 12 And binding with briars, my joys & desires.
5 And the gates of this Chapel were shut,

6 And Thou shalt not. writ over the door;
7 So I turn’d to the Garden of Love,
8 That so many sweet flowers bore.
3.1 What image is created by the title “The Garden of Love”? (2)
3.2 Refer to lines 5-6: “And the gates … over the door”.
Critically comment on the effectiveness of the punctuation used in these lines. (2)
3.3 Refer to lines 7-8: “So I turn’d …sweet flowers bore.”
Explain the significance of these lines in the context of the poem. (3)
Page 31
3.4 Refer to the final stanza: “And I saw ... joys and desires.”
Comment on how these lines convey the central idea of the poem. (3)
[10]
OR

An African Elegy – Ben Okri

1 We are the miracles that God made 16 That is why our music is so sweet.
2 To taste the bitter fruit of Time. 17 It makes the air remember.
3 We are precious. 18 There are secret miracles at work
4 And one day our suffering 19 That only Time will bring forth.
5 Will turn into the wonders of the earth. 20 I too have heard the dead singing.
6 There are things that burn me now 21 And they tell me that
7 Which turn golden when I am happy. 22 This life is good
8 Do you see the mystery of our pain? 23 They tell me to live it gently
9 That we bear poverty 24 With fire, and always with hope.
10 And are able to sing and dream sweet things 25 There is wonder here
11 And that we never curse the air when it is warm 26 And there is surprise
12 Or the fruit when it tastes so good 27 In everything the unseen moves.
13 Or the lights that bounce gently on the waters? 28 The ocean is full of songs.
14 We bless things even in our pain. 29 The sky is not an enemy.
15 We bless them in silence. 30 Destiny is our friend.
4.1 Discuss critically the poet’s ironic choice of “elegy” in the title. (3)
4.2 Refer to line 1: “We are the miracles that God made”
What is the tone of this poem? How does line 1 set the tone? (2)
4.3 Refer to lines 11-15: “And that we never curse … them in silence.”
Describe, in your own words, what gives Africans the ability to “bless things”. (2)
4.4 How does the speaker suggest Africans manage to deal with hardship?
Refer to the last two stanzas (lines 21-30) to support of your answer. (3)
[10]
Page 32
5.1.2 Section B: Novel
In this section, answer only ONE question on the novel you studied at your school. Answer EITHER the essay question OR the
contextual question. If you do the essay question in Section B, you have to do the contextual question in Section C, and vice versa.
The Picture of Dorian Gray – Oscar Wilde

The Picture of Dorian Gray illustrates the dangers of a society without moral boundaries. Critically discuss the extent to which
you agree with the above statement. Your response should take the form of a well-constructed essay of 400-450 words
(2-2½ pages). [25]
OR

Read the extracts below and answer the questions that follow.
“Sibyl is the only thing I care about. What is it to me where she came from? From her little
head to her little feet, she is absolutely and entirely divine. Every night of my life I go to see
her act, and every night she is more marvellous.”
“That is the reason, I suppose, that you never dine with me now. I thought you must have
some curious romance on hand. You have; but it is not quite what I expected.” 5
“My dear Harry, we either lunch or sup together every day, and I have been to the Opera with
you several times,” said Dorian, opening his blue eyes in wonder.
“You always come dreadfully late.”
“Well, I can’t help going to see Sibyl play,” he cried, “even if it is only for a single act. I get
hungry for her presence; and when I think of the wonderful soul that is hidden away in that 10
little ivory body, I am filled with awe.”
“You can dine with me to-night, Dorian, can’t you?”
He shook his head. “To-night she is Imogen,” he answered, “and to-morrow night she will be
Juliet.”
“When is she Sibyl Vane?” 15
“Never.”
“I congratulate you.”
“How horrid you are! She is all the great heroines of the world in one. She is more than an
individual. You laugh, but I tell you she has genius. I love her, and I must make her love me.
You, who know all the secrets of life, tell me how to charm Sibyl Vane to love me!” 20
7.1 Refer to line 1: “What is it to me where she came from?”

Describe Sibyl’s background. (2)
7.2 Refer to line 4: “That is the reason, I suppose, that you never dine with me now.”
How is Lord Henry’s reaction to Dorian’s announcement typical of him? (2)
7.3 Refer to lines 6-7: “My dear Harry, … you several times”.
Explain what Dorian’s statement implies about the lifestyle of the aristocratic Victorian society of the time. (2)
7.4 Refer to line 10: “… when I think of the wonderful soul”.
Explain the irony of Dorian’s use of the word “soul” in the context of the novel. (3)
7.5 Critically comment on Dorian’s “love” for Sibyl. (3)
7.6 Refer to line 17: “I congratulate you.”
Comment on Lord Henry’s attitude towards women by drawing on both this extract and the novel as a whole. (3)
Page 33
AND
“My dear Gladys!” cried Lord Henry.

“We can have in life but one great experience at best, and the secret of life is to reproduce
that experience as often as possible.”
“Even when one has been wounded by it, Harry?” asked the Duchess, after a pause.
“Especially when one has been wounded by it,” answered Lord Henry. 5
The Duchess turned and looked at Dorian Gray with a curious expression in her eyes. “What
do you say to that, Mr Gray?” she inquired.
Dorian hesitated for a moment. Then he threw his head back and laughed.
“I always agree with Harry, Duchess.”
“Even when he is wrong?” 10
“Harry is never wrong. Duchess.”
“And does his philosophy make you happy?”
“I have never searched for happiness. Who wants happiness? I have searched for pleasure.”
“And found it, Mr Gray?”
‘Often. Too often.’ 15
The Duchess sighed. “I am searching for peace,” she said, “and if I don’t go and dress, I
shall have none this evening.”
‘Let me get you some orchids, Duchess,’ cried Dorian, starting to his feet, and walking down
the conservatory.
He went to his room and dressed. There was a wild recklessness of gaiety in his manner as 20
he sat at table, but now and then a thrill of terror ran through him when he remembered
that, pressed against the window of the conservatory, like a white handkerchief, he had
seen the face of James Vane watching him.
7.7 Refer to lines 22-23: “… he had seen the face of James Vane watching him.”
Account for the presence of James Vane at Dorian’s window. (3)
7.8 Refer to lines 13-15: “I have never … Often. Too often.”
Critically discuss how Dorian’s tone reflects his attitude towards life at this point in the novel. (3)
7.9 Using this extract as a starting point and your knowledge of the novel as a whole, discuss the extent to which
Lord Henry is responsible for Dorian’s fate. (4)
[25]
TOTAL SECTION B: 25
Page 34
5.1.3 Section C: Drama
In this section, answer only ONE question on the drama you studied at your school. Answer EITHER the essay question OR the
contextual question. If you do the essay question in Section B, you have to do the contextual question in Section C, and vice versa.
Othello – William Shakespeare

Jealousy is a very important theme in Othello. Emilia says the following to Desdemona:
“They are not ever jealous for the cause,
But are jealous for they are jealous. ‘Tis a monster
Begot upon itself, born on itself.”
Discuss the theme of jealousy and say whether you think the above statement is applicable to Othello. Your response
should take the form of a well-constructed essay of 400-450 words (2-2½ pages). [25]
OR

IAGO
‘Faith, he to-night hath boarded a land carack: 50
If it prove lawful prize, he’s made for ever.
CASSIO
I do not understand.
IAGO
He’s married.
CASSIO
To who?
Re-enter OTHELLO 55
IAGO
Marry, to – Come, captain, will you go?
OTHELLO
Have with you.
CASSIO
Here comes another troop to seek for you.
IAGO
It is Brabantio. General, be advised; He comes to bad intent.
Enter BRABANTIO, RODERIGO, and Officers with torches and weapons 60
OTHELLO
Holla! stand there!
RODERIGO
Signior, it is the Moor.
BRABANTIO
Down with him, thief!
They draw on both sides
IAGO
Page 35
You, Roderigo! Come, sir, I am for you.
65
OTHELLO
Keep up your bright swords, for the dew will rust ‘em.
Good signor, you shall more command with years
Than with your weapons.
BRABANTIO
O thou foul thief, where hast thou stow’d my daughter?
Damn’d as thou art, thou hast enchanted her;
For I’ll refer me to all things of sense, 70
(If she in chains of magic were not bound),
Whether a maid so tender, fair and happy,
So opposite to marriage that she shunned
The wealthy curled darlings of our nation,
Would ever have, to incur a general mock, 75
Run from her guardage to the sooty bosom
Of such a thing as thou, to fear, not to delight.
Judge me the world, if ‘tis not gross in sense
That thou hast practised on her with foul charms,
Abused her delicate youth with drugs or minerals 80
That weaken motion: I’ll have’t disputed on;
‘Tis probable and palpable to thinking.
I therefore apprehend and do attach thee
For an abuser of the world, a practiser
Of arts inhibited and out of warrant. 85
9.1 Refer to line 65: “You, Roderigo! Come, sir, I am for you.”
Discuss both the dramatic and verbal irony in this line. (3)
9.2 Refer to line 67: “Keep up your bright swords, for the dew will rust ‘em”.
Discuss how Othello’s response demonstrates his character. (3)
9.3 Refer to lines 69-86: “O foul thief … out of warrant.”
Discuss what Brabantio thinks Othello has done to Desdemona. Provide evidence from the text. (3)
9.4 Refer to line 77: “Run from her guardage to the sooty bosom”.
Explain the significance of the word “sooty” in relation to Venice at the time. (2)
9.5 Refer to lines 67-69: “Keep up your bright swords, … stow’d my daughter?”
If you were a director of a production of Othello, how would you instruct the actors to deliver these lines?
Justify your instructions with reference to both tone and body language. (4)
AND
Page 36
OTHELLO
It gives me wonder great as my content 175
To see you here before me. O my soul’s joy!
If after every tempest come such calms,
May the winds blow till they have waken’d death!
And let the labouring bark climb hills of seas
Olympus-high and duck again as low 180
As hell’s from heaven! If it were now to die,
‘Twere now to be most happy; for, I fear,
My soul hath her content so absolute
That not another comfort like to this
Succeeds in unknown fate. 185
DESDEMONA
The heavens forbid
But that our loves and comforts should increase,
Even as our days do grow!
OTHELLO
Amen to that, sweet powers!
I cannot speak enough of this content; 190
It stops me here; it is too much of joy:
And this, and this, the greatest discords be [Kissing her]
That e’er our hearts shall make!
IAGO
[Aside] O, you are well tuned now!
But I’ll set down the pegs that make this music, 195
As honest as I am.
OTHELLO
Come, let us to the castle.
News, friends; our wars are done, the Turks are drown’d.
How does my old acquaintance of this isle?
Honey, you shall be well desired in Cyprus; 200
I have found great love amongst them. O my sweet,
I prattle out of fashion, and I dote
In mine own comforts. I prithee, good Iago,
Go to the bay and disembark my coffers:
Bring thou the master to the citadel; 205
He is a good one, and his worthiness
Does challenge much respect. Come, Desdemona,
Once more, well met at Cyprus.
[Exeunt OTHELLO, DESDEMONA, and Attendants]
9.6 Refer to lines 175-185: “It gives me wonder … in unknown fate.”

Account for Othello’s feelings at this point in the play
(3)
9.7 Refer to lines 194-196: “O, you are well tuned … honest as I am.”
9.7.1 Comment on the effectiveness of this figure of speech. (3)
9.7.2 Explain why Iago’s statement is being said as an aside? (2)
9.7.3 With reference to these lines, comment on Iago’s character. (2)
[25]
TOTAL SECTION C: 25
Page 37
5.2 Home Language: Model answers
5.2.1 Section A: Poetry


In The child who was shot dead by soldiers in Nyanga by Ingrid Jonker, the child becomes a symbol of resistance and hope.
The title evokes sympathy, and the fact that an innocent child is killed makes it even more poignant as it also emphasises the
brutality of the soldiers. The diction, imagery and tone used by the poet create feelings of outrage, loss, defiance and rebellion.
The poet uses words such as “screams” and “scream” to draw attention to the anger which is felt at the time. Phrases such
as “the smell of freedom”, and “the smell of justice and blood” further highlight the anger and determination of the people to
end the oppression to which black people were subjected (“the heart under siege”). The child raising his “fists against his”
mother and father is indicative of the child’s (the youth’s) rebellion and refusal to remain passive in the face of an unjust and
brutal system.
The repetition of “The child is not dead” creates the sense of freedom – which cannot be killed by bullets – that the child
represents. He might be physically dead, but in the hearts of his people he is still alive. The mention of the different black
townships (Langa, Nyanga, Orlando and Sharpeville) shows how protests had spread to the rest of the country and in particular
the allusion to the Sharpeville massacre where many innocent lives were lost.
The reference to “guns saracens and batons” highlights the uncaring attitude of the soldiers who are fully armed and will not
hesitate to use violence to suppress black people.
The penultimate stanza shows that the child is everywhere: at meetings, peeping through windows, and “just wanted to play
in the sun” – a reference to his innocence, unrestricted freedom and simply just wanting to enjoy his childhood. The child’s
progression to “a man” and then “a giant” who “travels through the whole world” proves that what happened to him will have
a global effect.
The three-word ending of the poem impacts powerfully with its direct simplicity: the dead do not require a pass (the apartheid
identity document) – the main reason for the violent protests at the townships mentioned earlier.
The tone of the poem is inspirational and passionate despite the sadness of the child’s death. (378 words)
[10]
Essays are marked according to a rubric. Ask your teacher to show

you the rubric and discuss its requirements.
OR

2.1 The sun creates the image of something shiny and bright. However, the eyes of the speaker’s mistress are the opposite.
The phrase “nothing like” emphasises that there is nothing special about her eyes/her eyes are plain and ordinary. √√ (2)
2.2 In this metaphor, the speaker compares his mistress’ hair to black wire. (Hair was often compared to something smooth,
soft and silky/golden thread). Her hair is frizzy/spiky and hard. The alliteration of the w-sound emphasises the mistress’
imperfection. √√ (2)
Page 38
2.3 The speaker has seen beautiful pink, red and white roses but his mistress’ cheeks do not show these hues. Her cheeks
are pale. In lines 7-8, the speaker states that some perfumes smell better than her breath, and in lines 9-10, he admits
that the sound of music is better than her voice. All these images emphasise that she is not perfect/an average human
being. √√√ (3)
2.4 In the first 12 lines of the sonnet, the speaker’s tone is critical/harsh/sarcastic when he clearly states all the negative
comparisons to compare his mistress. The tone, however, changes in lines 13-14 to sincerity/earnestness when he
reveals that his beloved does not need exaggerated comparisons to describe her beauty. He loves her just the way she
is. √√√ (3)
(Discuss tone to earn the full 3 marks.)
[10]
OR

At a Funeral – Dennis Brutus
3.1 A mood of melancholy and loss is prevalent as one comes to realise that the young woman’s years of sacrifice meant nothing
in the end. There is a sense of unfulfilled hopes and dreams that have been destroyed by her untimely death. √√ (2)
3.2 The “stubbled graves” is a reference to their unkempt condition. The personification in “Expectant, of eternity” portrays
the graves as waiting for more bodies that will remain there forever. The realisation that death is inevitable is further
emphasised by this phrase. √√ (2)
3.3 These exclamatory words suggest the speaker’s call for action. The commanding tone urges the reader to not only
honour the dead but to look further than the “pageantry” of line 1: to think about the implications of this funeral and
the harsh reality of death. The defiant tone in “Arise!” is another instruction to stand up/rebel against the apartheid
government. The speaker’s calls for active resistance by the oppressed is emphasised. √√√ (3)
3.4 The speaker regards the “panoply” (line 5) of the ceremony as “hollow”. He uses this funeral as an opportunity to renew
his commitment to the liberation struggle. The capitalised “Freedom” is a shout to awaken the dead. The speaker urges
his fellow countrymen to not “lie down”, that is, they should not surrender or be submissive to the oppressive powers.
There should be no end to resistance and the “we” signifies that the speaker does not exclude himself from the struggle
against apartheid. √√√ (3)
(Earn 3 marks for a well-discussed interpretation.)
[10]
OR

Solitude – Ella Wheeler Wilcox
4.1 The word “solitude” refers to the state of being alone/removed from people but it could also imply loneliness and isola-
tion by choice. In this poem, however, the poet explores the relationship between the individual and the external world.
A happy individual will attract friends, while someone who is sad will breed solitude. Pain and death is everyone’s forte
but you will have to face it alone. √√ (2)
4.2 In line 9, the speaker contrasts “rejoice” with “grieve” (line 10). The “pleasure” of line 11 is contrasted with “woe”
(line 12). The speaker maintains that if you are happy (“rejoice”) people would want to be in your company – they “will
seek you”. They want to share in your happiness (pleasure). However, should you be in a state of despair/unhappiness
(“woe”), people opt to leave you to your own devices (“turn and go”). √√ (2)
Page 39
4.3 “Feast” in line 17 brings to mind a celebration, where food and drink are in abundance. The celebratory mood is empha-
sised by the huge number of people who join in the celebration (“halls are crowded”). The speaker argues that if you are
not a participant in the joys of life, people will shun you. The mood of the speaker changes to one of depression when
the issue of fasting arises. Fasting is a private affair so people are unaware or will even ignore you when you indulge in
this practice. On another level, “fasting” could also refer to abstinence from pleasures. √√√ (3)
4.4 The metaphor in which the poet describes pain as a “narrow” aisle implies that everyone will suffer pain but others
cannot experience it with them (the sufferer). One can empathise with them but they have to bear it on their own (“file
on”, which means to walk one behind the other). The “narrow aisles” refer to a confined space, where only one person
can move at any given time. This reinforces the idea that when we suffer we do so alone. √√√ (3)
[10]
AND

Seed – Paula Meehan
5.1 The word “gloom” implies that the speaker is despondent/depressed/sad. The reference to a “house where hope has
died” suggests that she has experienced loss/suffering and as a result, feels dejected and despairing. Her view of the
house reflects her sense of misery. √√ (2)
(You might suggest that the speaker’s state of mind is optimistic/hopeful by referring to her stepping out into the garden
from the “gloom”. Earn 2 marks for any one idea well discussed OR any two relevant and distinct points.)
5.2 The word, “conspiracy” suggests plotting/scheming/colluding/working together in secrecy. It conveys the idea that the
sun and the soil are working to bring about new life/nourish and germinate the seeds. √√ (2)
(Earn 2 marks for any two relevant and distinct points.)
5.3 Personification: The petals of the flowers are compared to “fingers”. They are holding precious raindrops, which will help
to nurture life. The imagery conveys gentleness/ fragility/tenderness after the harshness of the storm. √√√
OR
Simile: The raindrops are like a ‘peace offering’/gift because they bring the promise of new life. There is a sense of
optimism/hope because there is harmony/balance between the seasons. √√√ (3)
(You will be credited for valid alternative/mixed responses and awarded 3 marks for any ONE image well discussed OR
a brief description of both images.)
5.4 VALID
Like the seed, the speaker has survived adversity/hard times. The seed is effortlessly/casually able to survive the
harshness of winter. It has lain dormant and with the coming of spring the seed rejuvenates. Like the seed, the speaker
is tenacious; she has persevered and feels that there is hope in a new beginning. √√√ (3)
(You might argue that the speaker, lacking faith in God, places her faith in nature’s ability to survive and renew itself. Nature
fills her with optimism. A cogent “Invalid” response is unlikely. However, all responses are assessed on their merits.)
(Earn 3 marks for any two ideas well discussed OR any three distinct ideas.)
[10]
Page 40
Question 1A: Essay question

In An African Thunderstorm by David Rubadiri, the approaching thunderstorm is a destructive and brutal force. The diction,
imagery and tone used by the poet creates feelings of fear and chaos.
The poet uses words such as “hurrying”, “turning”, “whirling”, “tossing” and “chasing” to create movements that suddenly
change direction and create a feeling of chaos. The repeated words emphasise the formidable nature of the wind that cannot be
controlled or stopped. Words such as “screams” of delighted children, the babies “clinging”, the women “dart about” “madly”
create a feeling of fear and anxiety with regard to the approaching storm.
The images of the storm (clouds and wind) are frightening. The clouds are compared to a “plague of locusts”, which suggests
destruction. A plague implies illness and disaster of which swarming locusts are capable. In the same way, a violent thunderstorm
can be brutal and merciless, destroying all in its path. The wind is compared to a powerful animal “tossing up things on its tail”
This metaphor reinforces the ferocity/savagery of the storm as a frightening, ruthless force.
In the last line of the first stanza, the wind is compared to a “madman chasing nothing”, and this simile tells us about the
unpredictability/uncontrollability of the coming storm.
The tone is ominous. “Plague” and “madman” create the sense that something bad is going to happen. The tone contributes to
the idea that the storm is a damaging force.
The frightening, destructive ruthless force of an African thunderstorm is created through the diction, imagery and tone used.
(255 words)
[10]

OR

A Hard Frost – Cecil Day Lewis
2.1 The personification/comparison of the frost to a thief is disturbing:
it suggests that the frost works silently and stealthily, taking that which does not belong to it. √√ (2)
2.2 While the speaker is delighted at the transformation of his world from the bleak harsh landscape of winter, he is equally
pensive in that he knows that this transformation is temporary/effectively illusory. √√ (2)
2.3 The winter landscape is metaphorically compared to a plain/an unattractive country maid who is transformed on
her wedding day by her bright and beautiful bridal outfit. Her beauty is short-lived since after her wedding she will
return to her old self, as will the landscape after the frost has melted. The speaker’s tone is one of disappointment
that this beauty is short-lived, and perhaps, he is disparaging of the frost’s trickery. √√√ (3)
(Discuss tone to earn the full 3 marks.)
2.4 The speaker looks forward to the new cycle of life as the frost nudges the earth to release the seeds that will sprout in
Spring, which will signify an end to the hardships of winter. The transformation in nature might possibly be equated to
transformation in the life of people who experience hardship but can still look forward to a future that has the potential
for a better life. √√√ (3)
[10]
OR
Page 41
The Garden of Love – William Blake
3.1 The reader will expect the speaker to enter an area/state of being that is open, free and beautiful. It is a place of peace
and tranquillity./The allusion to the Biblical Garden of Eden creates the expectation of spiritual perfection and natural
beauty. √√ (2)
(Earn 2 marks for one idea well discussed.)
3.2 The comma after “shut” provides a pause – it emphasises that the doors of the church are closed. The full stop after
“not” suggests that this command can apply to many things – preventing joy and love. The full stop makes it definite
– there is no negotiation or change √√ (2)
3.3 Finding the unwelcoming chapel built on the open green he once played on, the speaker looks for the beautiful flowers
that once grew on the green – flowers symbolise life and joy – he is looking for them as he needs to feel the joy/
happiness he once felt √√√ (3)
3.4 Instead of life flourishing (“flowers”), the garden is now associated with death as it is filled with “graves” and
“tomb-stones”. The priests in black gowns are like sinister figures on patrol. These lines reflect the speaker’s criticism
of authoritarian religion’s depriving one of joy. He sees such religion as cruelly restrictive (“binding with briars my joys
and desires”) of individual freedom and fulfilment. √√√ (3)
(Earn 3 marks for two ideas/interpretations well discussed.)
[10]
OR

An African Elegy – Ben Okri
4.1 An elegy is a sad song used when death has occurred. This poem, however, is about finding joy, about an optimistic spirit
amidst hardship, and the ability to be hopeful even when things are difficult. It strongly contradicts the usual sad and
mournful tone associated with death. √√√ (3)
(Earn 3 marks for discussing irony.)
4.2 The tone of this poem is positive/hopeful. The reference to “miracles” in line 1 makes us think of good things/the
protection of God. √√ (2)
4.3 They appreciate what nature gives them (“air”, “fruit”, “lights that bounce gently on the waters”) and find joy in its
beauty. Despite their pain they see beauty and can thus “bless things”. √√ (2)
4.4 They live close to their ancestors and obey what they feel are messages from their ancestors. (“And they tell me that/
This life is good/They tell me to live it gently”). They live close to nature and see music and beauty in their natural
surroundings. (“The ocean is full of songs./The sky is not an enemy.”) They accept their fate and move on despite it.
(“Destiny is our friend.”) They are careful, mindful of their surroundings, and passionate about life. (“live it gently/With
fire”) √√√ (3)
[10]
Page 42
5.2.2 Section B: Novel
The Picture of Dorian Gray – Oscar Wilde

AGREE*
In the novel The Picture of Dorian Gray by Oscar Wilde the dangers of a society without moral boundaries are shown. The
Victorian Era is a society of appearance versus reality. On the one hand a strict moral code of behaviour is expected from
society; however, the immoral behaviour of the upper class does not reflect this.
Despite Victorian London being seen as conservative, upper-class Victorians, in particular, behave in a depraved manner that
crosses the boundaries of socially acceptable conduct. The popularity of Aestheticism and Hedonism indicates the appeal of
surrounding oneself with beauty and indulging in new and forbidden pleasures. These theories focus on the individual, and it is
the individual that threatens the ethical backbone of society.
Lord Henry is reckless, showing a lack of concern for the effect his divisive statements might have on impressionable people
like Dorian Gray. He sees nothing wrong in “experimenting” on Dorian Gray to explore the extent to which he can shape him.
He ignores the potential harm he might cause Dorian Gray. When Dorian Gray realises that the portrait will bear the signs of his
questionable moral behaviour, he feels free to indulge his every desire.
Dorian Gray is associated with corrupt and degenerate behaviour such as gambling, fighting, drug-taking and sexual depravity.
After abandoning his moral standards, it is an easy step for Dorian Gray to become a murderer. His summoning of Alan Campbell
to dispose of Basil’s body is cruel. He is implicated in scandals surrounding his friends who have all had their reputations ruined
and are shunned by their families and society. Dorian Gray’s comments that he does not teach these people their wickedness
suggests that he is not the only member of the Victorian Society living decadently.
For many years, Dorian Gray finds satisfaction in remaining fault-free while his portrait illustrates the burden of his immoral
behaviour. Dorian Gray’s faith that he can free himself from his conscience by destroying the portrait is symbolic of how his lack
of moral restraint has ultimately destroyed him.
James Vane’s desire for revenge leads to his own destruction. The lack of respect and exploitation of the lower classes results
in simmering resentment. The easy dismissal of Sibyl’s death and Dorian’s grandfather’s killing of his impoverished son-in-law
indicate how little value the poor were perceived to have. The existence of the opium dens, the prevalence of prostitution and
the rumours of sexual promiscuity indicate the pervading moral corruption of the society. This leads to the destruction of family
life, which is another consequence of people’s morally questionable behaviour.
The Victorian society’s lack of morals leads to the destruction of people and families while they try to pretend to be a society
of high moral standing. (455 words)
[25]
*If a question asks whether you agree or disagree you must state AGREE or DISAGREE before your introduction.
Your essay must support your AGREE or DISAGREE statement.

Page 43
7.1 Sibyl is an actress in a shabby theatre. She is contracted to the owner of the theatre, making her reliant on him for a
meagre salary. She lives in squalid surroundings with her mother and brother. √√ (2)
(Earn 2 marks for two ideas.)
7.2 Lord Henry reacts in a spoilt, almost jealous manner. He feels entitled to Dorian’s undivided attention. This is typical of
his selfish demeanour and his desire to control Dorian’s life. √√ (2)
7.3 Aristocratic Victorian society enjoys a life of hedonistic self-indulgence. They pass their time dining out and frequenting
the Opera. They fill their days with frivolous activity. This is indicative of the purposelessness of their lives. √√ (2)
7.4 This statement about Sibyl’s soul implies that Dorian has an intimate knowledge of the person she is. This is, however,
not true as he barely knows her and is less concerned about who Sibyl really is than about her artistic performances
and the characters she becomes. His lack of sensitivity to her soul ultimately destroys Sibyl. There is irony in Dorian’s
recognition of the concept of soul when he, in fact, progressively sullies his own soul. It is ironic that Dorian is responsible
for the death of this “wonderful soul” as he drives Sibyl to commit suicide. √√√ (3)
(Earn 3 marks for also discussing irony.)
7.5 Although Dorian claims to be in love with Sibyl, he shows no concern for her as a person. He is only interested in her
artistry and her ability to transform reality for him. She appeals to his aesthetic belief that art is superior to life. When
Sibyl is no longer interested in acting, he loses interest in her and cruelly rejects her. Love ought to be selfless and
unconditional, but Dorian’s love is neither. His love for Sibyl proves to be superficial and insincere. √√√ (3)
(Earn 3 marks for any two ideas well discussed OR any three distinct ideas.)
7.6 In this extract, Lord Henry responds cynically to Dorian’s remark, implying that women are never what they present
themselves to be. Lord Henry speaks disparagingly and insultingly about women, including his wife. He holds them in
little regard, seeing them as frivolous and flighty. His attitude is sexist and patronising. √√√ (3)
(Earn 3 marks for referring to this extract and the novel as a whole.)
7.7 When James Vane had confronted Dorian a week earlier about his role in Sibyl’s death, Dorian was able to convince
James that he was not the man that Sibyl had referred to as “Prince Charming”. However, James has discovered that
Dorian is indeed “Prince Charming”. Hence his presence at Dorian’s home to take his promised revenge. √√√ (3)
7.8 Dorian’s tone is sardonic/pessimistic/dejected. He has chosen pleasure over being happy, only to realise that the pursuit
of pleasure has not fulfilled his expectations. He feels quite hopeless and despondent. He appears to lack enthusiasm
for life. He has become cynical and disillusioned. √√√ (3)
(Earn 3 marks for discussing tone and attitude.)
7.9 Lord Henry impresses Dorian with his witty aphorisms and his ideas about Aestheticism. His charm and intelligence
convince Dorian to adopt the self-indulgent lifestyle he promotes. In doing so, Dorian seeks out increasingly immoral
experiences, becoming more degenerate and corrupt with each experience. Dorian lives by the yellow book given to him
by Lord Henry. Dorian’s commitment to this lifestyle leads to his death. √√√√ (4)
(You can also argue that Dorian must be deemed responsible for his own death. Despite the influence of Lord Henry,
Dorian chooses to corrupt himself.)
[25]
Page 44
5.2.3 Section C: Drama
Othello – William Shakespeare

The theme of jealousy in the play Othello by William Shakespeare is most evident in the characters of Bianca, Iago and, in
particular, Othello. This jealousy influences the way the characters behave and respond.
Bianca is a prostitute with feelings for Cassio. She is suspicious of Cassio and accuses him of having another mistress. Cassio
gives her the handkerchief he found in his room which she returns in a fit of jealousy believing he received it from his new
mistress. Othello witnesses this scene and the “ocular proof” he requests Iago to provide – is now in front of him and proves
to Othello that Desdemona is unfaithful to him.
Iago is jealous of Cassio and his position of lieutenant. He believes that the position was given to Cassio because of Cassio’s
friendship with Othello. Iago feels that he is more deserving of this position, as he proved his worth to Othello on the battles
fought alongside Othello, is an experienced soldier while Cassio is a Florentine and an arithmetician without much battle
experience.
Iago has heard rumours concerning Emilia and Othello and that they were involved in an adulterous affair. There are no facts to
substantiate this, yet Iago chooses to believe this. It fuels his jealousy, and he wants revenge. Othello and Desdemona have a
fairy-tale marriage, which Iago does not have. Because of this jealousy, Iago is determined to destroy their happiness. He uses
innuendo, lies and half-statements to make Othello jealous of Cassio. Iago implies that Desdemona and Cassio are having an
affair. This drives Othello to feel an uncontrolled jealousy, and he promises to make Desdemona pay for her adulterous affair.
Othello’s uncontrolled jealousy changes him from a calm, rational man to someone who loses all control of his emotions and
of logical thought. Othello, as governor of Cyprus, is the centre of power. Othello feels very insecure. He is a Moor, which is
associated with barbarism and being a non-Christian. Othello is black in a white Venetian society. And he does not understand
the intricacies of Venetian society. He is not eloquent but is “rude of speech”. Iago uses these insecurities to fuel Othello’s
jealousy, which becomes unreasonable and irrational. This jealousy results in his killing Desdemona as punishment for her
infidelity. He then kills himself.
Because of Othello’s overwhelming jealousy, he is easy prey to Iago’s plotting. His mind is poisoned by the jealousy, and it leads,
both directly and indirectly, to the deaths of Desdemona, Roderigo, Emilia, and himself.
That the play Othello by William Shakespeare revolves around jealousy is evident in the characters of Bianca, Iago and, in
particular, Othello which results in the deaths of Emilia, Desdemona and Roderigo. (448 words)
[25]

OR
Page 45
9.1 It’s dramatic irony because the audience is aware that it is Iago who planned the telling of Brabantio about Desdemona,
and that he had left Roderigo outside Brabantio’s house. √
It is ironic because Iago pretends surprise at seeing Roderigo with Brabantio when, in reality, Iago has schemed with
Roderigo and is plotting against Othello. √√ (3)
(Include both types of irony and both aspects of irony: what is expected vs what actually happened.)
9.2 It shows Othello to be authoritative – he instructs the soldiers to keep their swords sheathed; he takes control of the
situation; he does not respond aggressively but remains calm and controlled √√√ (3)
9.3 Brabantio thinks that Othello has not won over Desdemona’s love in an honest manner. He refers to him as a “foul thief”. √
He accuses Othello of witchcraft to gain her love “foul charms”, “chains of magic”. √
He thinks she loves Othello because she has been manipulated through substances “abused her delicate youth with
drugs or minerals”. √ (3)
(You must have a quote and explanation for every mark given.)
9.4 Sooty is a prejudiced reference to Othello’s skin colour or ethnicity. He is a moor.
Venice was a very diverse setting where people from all over the world came to live. √√ (2)
9.5 Body language:
OTHELLO: stands up straight and faces Brabantio and the soldiers/makes no threatening gestures/perhaps may put his
hand up to indicate that they must keep their swords sheathed. √
(Or similar, any one)
BRABANTIO: leans forward/points his finger at Othello √
Tone:
OTHELLO: calm/controlled/respectful √
BRABANTIO: loud voice/angry/accusatory √ (4)
9.6 Othello is excited because he has recently married Desdemona. Othello is relieved that he is no longer in physical danger
due to the storm nor in danger of the Turks. He is relieved/happy that Desdemona arrived safely despite the severe
storm. √√√ (3)
(Or similar, any three)
9.7
9.7.1 This a metaphor comparing a tuned instrument that produces beautiful music to an untuned instrument that
sounds awful./He is stating that he is going to ruin the harmony/unity/happiness between Desdemona and
Othello./It is effective because Iago has the control, like a musician controls his instrument, and he will bring
about the destruction of Desdemona’s happiness. √√√ (1)
(Or similar)
9.7.2 An aside is a dramatic device in which a character speaks to the audience. By convention, the audience is
to realise that the character’s speech is unheard by the other characters on stage. Iago does not want Othello and
Desdemona to be aware of his schemes. √√ (2)
9.7.3
Iago is dishonest – he calls himself “honest” when he has been lying to both Othello and Roderigo.
Manipulative – he persuades Roderigo to do his bidding.
Devious – he is able to hide his true character – appearance vs reality.
Destructive – he is planning to destroy Othello and Desdemona’s happiness.
Vengeful towards Othello – he suspects him of having an affair with Emilia and Othello overlooked him for the
position of lieutenant. √√√√ (4)
(Or similar, any four)
[25]
Page 46
5.3 First Additional Language: Example questions
5.3.1 Section A: Novel

If you choose to complete Section A, answer only ONE question on the novel that you studied at your school.
Question 1: Cry, the Beloved Country – Alan Paton

– How can I use it? he said. This money was to send Absalom to
St. Chad’s.
– Absalom will never go now to St. Chad’s.
– How can you say that? he said sharply. How can you say such a thing?
– He is in Johannesburg, she said wearily. When people go to Johannesburg, 5
they do not come back.
– You have said it, he said. It is said now. This money which was saved for
that purpose will never be used for it. You have opened a door, and because
you have opened it, we must go through. And Tixo alone knows where we
shall go. 10
– It was not I who opened it, she said, hurt by his accusation. It has a long
time been open, but you would not see.
– We had a son, he said harshly. Zulus have many children, but we had only
one son. He went to Johannesburg, and as you said – when people go to
Johannesburg, they do not come back. They do not even write any more. 15
They do not go to St. Chad’s to learn that knowledge without which no
black man can live. They go to Johannesburg, and there they are lost, and no
one hears of them at all. And this money ...
But she had no words for it, so he said, it is here in my hand
1.1 Choose a description from Column B that matches a name in Column A.
COLUMN A COLUMN B
1.1.1 Theophilus Msimangu A engineer and opponent of racial injustices
1.1.2 Mrs Lithebe B denies being an accomplice to Arthur’s murder
1.1.3 Arthur Jarvis C preacher and selfless man who helps Stephen
1.1.4 Matthew Kumalo D a young man who works at the reformatory
E kind-hearted landlady who offers Stephen a room
(4 × 1 = 4)
1.2 Describe the setting of this extract. (2)
1.3
Refer to lines 1-4: “– How can I … such a thing?”
1.3.1 Why did Stephen and his wife want to send Absalom to St Chad’s? (1)
1.3.2 Choose the correct answer to complete the following sentence.
Absalom goes to Johannesburg to …
A further his studies.
B become a priest.
C look for Gertrude.
D visit his uncle. (1)
Page 47
1.4 Refer to lines 5-6: “– He is in … do not come back.”
1.4.1 What tone would Mrs Kumalo use in these lines? (1)
1.4.2 Why would Mrs Kumalo use this tone in these lines? (1)
1.5 Refer to lines 8-10: “You have opened … where we shall go.”
1.5.1 Identify the figure of speech in these lines. (1)
1.5.2 Explain this figure of speech as used in the extract. (1)
1.6 What does this extract reveal about Stephen Kumalo’s character? (2)
1.7 Absalom’s background contributes to his actions when he is in Johannesburg.
Discuss your view on this statement. (3)
AND
– Then said the old man, this thing that is the heaviest thing of all my
years, is the heaviest thing of all your years also.
Jarvis looked at him, at first bewildered, but then something came to
him. You can mean only one thing, he said, you can mean only one thing. But
I still do not understand. 5
– It was my son that killed your son, said the old man.
So they were silent. Jarvis left him and walked out into the trees of the
garden. He stood at the wall and looked out over the veld, out of the great
white dumps of the mines, like hills under the sun. When he turned to come
back, he saw that the old man had risen, his hat in one hand, his stick in the 10
other, his head bowed, his eyes on the ground. He went back to him.
– I have heard you, he said. I understand what I did not understand.
There is no anger in me.
– Umnumzana.
– The mistress of the house is back, the daughter of uSmith. Do you 15
wish to see her? Are you recovered?
– It was that I came to do, umnumzana.
– I understand. And you were shocked when you saw me. You had not
thought that I would be here. How did you know me?
1.8 Why is the following statement FALSE?

James Jarvis stays with Smith’s daughter while he is in Johannesburg. (1)
1.9 What does Stephen Kumalo mean by “the heaviest thing of … of your years also” (lines 1-2)? (2)
1.10 Refer to lines 7-9: “Jarvis left him … under the sun.”
What does this extract reveal about Jarvis’s state of mind?
Substantiate your answer. (2)
1.11 Explain what eventually happens to Absalom after the judge’s verdict is given. (2)
1.12 How does James Jarvis assist the community of Ndotsheni after his son’s death?
State THREE points. (3)
1.13 Refer to line 16: “Are you recovered?”
Explain the irony in Jarvis’s words in this line. (2)
1.14 One of the themes in Cry, the Beloved Country is migration.
Discuss this theme with reference to the Kumalo family. (3)
1.15 The title, Cry, the Beloved Country is suitable for this novel.
[35]
TOTAL SECTION A: 35
Page 48
5.3.2 Section B: Drama
If you choose to complete Section B, answer only ONE question on the drama that you studied at your school.
Question 4: My Children! My Africa! – Athol Fugard

ISABEL
Auntie, our maid, put down in front of me a plate of steaming,
delicious Jungle Oats over which I sprinkled a crust of golden,
brown sugar, and while that was melting on top I added a little
moat of chilled milk all around the side. That was followed by
brown-bread toast, quince jam and lots and lots of tea. 5
THAMI
Yes, you’re a writer.
ISABEL
You think so?
THAMI
You made me hungry.
ISABEL
My turn now?
THAMI
Yep. 10
ISABEL
Let’s start with your family.
THAMI
Mbikwana! [He clears his throat] Mbikwana is an old Bantu name
and my mother and father are good, reliable, ordinary, hard-
working Bantu-speaking black South African natives. I am the one
hundred thousandth generation. 15
ISABEL
You really like teasing, don’t you?
THAMI
Amos and Lilian Mbikwana. They’re in Cape Town. My mother is
a domestic and my father works for the railways. I stay here with
my grandmother and married sister. I was sent to school here in
the peaceful platteland because it is so much safer, you see, than 20
the big city with all its temptations and troubles. [Thami laughs]
Another Bantu joke.
ISABEL
You’re impossible!
[They are now beginning to relax with each other. Isabel finds the
class register on the desk] 25
ISABEL
Zolile High School. Standard Ten [She opens it and reads] Awu
THAMI
[Pointing to the appropriate desk in the classroom] There.
ISABEL
Bandla.
THAMI
There.
ISABEL
Cwati. 30
THAMI
Cwati. There.
Page 49
4.1 Choose a description from Column B that matches a name in Column A.
COLUMN A COLUMN B
4.1.1 Miss Dyson A principal of Camdeboo High
4.1.2 Mr Myalatya B a good soccer player
4.1.3 Mr Mbikwana C a motivational school inspector
4.1.4 Miss Brockway D ambitious and respected bachelor
E extrovert and intelligent feminist
(4 × 1 = 4)
4.2 Describe the setting of this extract. (2)
4.3 Explain why Thami is convinced that Isabel is “a writer” in line 6? (2)
4.4 Refer to lines 14-15: “I am the … hundred thousandth generation.”
4.4.1 Identify the figure of speech used in these lines. (1)
4.4.2 Explain this figure of speech as used in the extract. (2)
4.5 Explain the irony in lines 19-21: “I was sent … temptations and troubles.” (2)
4.6 What does this extract tell you about Isabel’s state of mind?
4.7 Mr M is a good teacher.
AND
THAMI
No, I won’t. You talk about them as if they were a lot of sheep
waiting to be led. They know what they are doing. They’d call
me a traitor if I tried to persuade them otherwise.
MR M
Then listen carefully, Thami. I have received instructions from
the department to make a list of all those who take part in the 5
boycott. Do you know what they will do with that list when all this
is over … because don’t fool yourself, Thami, it will be. When your
boycott comes to an inglorious end like all the others … they will
make all of you apply for re-admission and if your name is on that
list … [He leaves the rest unspoken]
THAMI
Will you do it? Will you make that list for them? 10
MR M
That is none of your business.
THAMI
Then don’t ask me questions about mine.
MR M
[His control finally snaps. He explodes with anger and bitterness] Yes,
I will! I will ask you all the questions I like. And you know why?
Because I am a man and you are a boy. And if you are not in that 15
classroom tomorrow you will be a very, very silly boy.
THAMI
Then don’t call me names, Mr M.
MR M
No? Then what must I call you? Comrade Thami?
Never! You are a silly boy now, and without an education you will
grow up to be a stupid man! 20
Page 50
4.8 Why is the following statement FALSE?
Mr M is killed at the Reverend Mbopa’s home. (1)
4.9 Who is “them” (line 1)? (1)
4.10 Choose the correct answer to complete the following sentence.
In line 8 the word “inglorious” means …
A admirable.
B praiseworthy.
C shameful.
D oppressive. (1)
4.11 If you were the director of this play, what would you tell Thami to do when saying line 11:
“Will you do it? Will you make that list for them?”
State TWO actions. (2)
4.12 Refer to line 18: “No? Then what must I call you? Comrade Thami?” (1)
4.12.1 What tone would Mr M use in this line? (1)
4.12.2 Why would Mr M use this tone in this line? (1)
4.13 Refer to lines 19-20: “Never! You are … a stupid man!”
In which TWO ways do these lines ring true for Thami later in the play? (2)
4.14 What does this extract reveal about Thami’s character? (2)
4.15 One of the themes in My Children! My Africa! is the power of words versus violence.
Discuss this theme. (3)
4.16 Discuss the suitability of the title of the play, My Children! My Africa! (3)
[35]
TOTAL SECTION B: 35
5.3.3 Section C: Short stories

This section starts with the new Grade 12 prescribed short stories (for 2023 and onward).
If you choose to complete Section C, answer ALL the questions on BOTH short stories.
Question 5: Short stories

Rejection – Mariama Bâ
(The narrator receives visitors.)

‘… He praises you for the quarter of a century of marriage in which you
gave him all the happiness a wife owes her husband. His family, especially
myself, his elder brother, thank you. You have always held us in respect.
You know that we are Modou’s blood.’
Afterwards there were the same old words, which were intended to relieve 5
the situation: ‘You are the only one in your house, no matter how big it is,
no matter how dear life is. You are the first wife, a mother for Modou, a
friend for Modou.”
Tamsir’s Adam’s apple danced about in his throat. He shook shook his
left leg, crossed over his folded right leg. His shoes, white Turkish slippers, 10
were covered with a thin layer of red dust, the colour of the earth in which
they had walked. The same dust covered Mawdo’s and the Imam’s shoes.
Page 51
Mawdo said nothing. He was reliving his own experience. He was
thinking of your letter, your reaction, and you and I were so alike. He was
being wary. He kept his head lowered, in the attitude of those who accept 15
defeat before the battle.
I acquiesced under the drops of poison that were burning me: ‘A quarter of a
century of marriage’, ‘a wife unparalled’.
5.1.1 Choose a description from Column B that matches a name in Column A.
COLUMN A COLUMN B
5.1.1.1 Tamsir A one of the narrator’s daughters
5.1.1.2 Mawdo B the narrator’s errant husband
5.1.1.3 Daba C friend of the narrator’s husband
5.1.1.2 Modou D writes a letter to the narrator
E the narrator’s brother-in-law
(4 × 1 = 4)
5.1.2 Describe the setting of this extract. (2)
5.1.3 Explain why Mawdo keeps “his head lowered” (line 15). (2)
5.1.4 Why is the following statement FALSE?
The “you” (line 14) is the narrator’s sister. (1)
5.1.5 Refer to line 17: “I acquiesced under … were burning me”.
5.1.5.1 Identify the figure of speech used in this line. (1)
5.1.5.2 Explain this figure of speech as used in the extract. (2)
5.1.6 One of the themes in Rejection is betrayal. Discuss this theme. (3)
5.1.7 Refer to the short story as a whole.
Do you have sympathy for the narrator? Discuss your view. (3)
AND
Forbidden Love – Can Themba
(Chaos erupts on the school grounds.)

He looked at the circle of boys wistfully. He knew what they were
doing now during these precious few minutes before lessons started.
They were teasing each other in the age-old school tradition. Probably
vulgar, the naughty little scamps, he thought tolerantly as his mind went
back to his own schooldays as a youngster. Then he hurried away to 5
Aunt Sannie’s house for that daily cup of coffee.
Meanwhile Freddie Williams, the sandy-haired, smart-looking youngster,
sped across the playground to the History classroom. Freddie was not
going to miss that morning’s session of their little tease-club. But gee!
they got Bobby Randolph at last. Freddie had met Dick Peters that 10
morning on their way to school, and that eternal victim of Bobby
Randolph’s tease-tongue had intimated to Freddie that he had a bombshell
with which he was going to blow Bobby to bits and blazers. That is why,
as he went flying over the playground, Freddie had shouted to the gang
already assembled, ‘Wait for me!’ 15
Page 52
Dick Peters did wait for Freddie. He wanted a full audience, and he
wanted to make sure that his friend Freddie was present in case of any
fighting.
Freddie was still gasping for breath when Dick stood up, faced Bobby,
and exploded his bombshell without finesse or ceremony. 20
5.2.1 Refer to lines 1-5: “He looked at … as a youngster”.

5.2.1.1 Who is “He” (line 1) (1)
5.2.1.2 What do these lines tell you about this person’s state of mind?
5.2.1.3 Choose the correct answer to complete the following sentence.
The word “wistfully” means …
A scornfully.
B teasingly.
C longingly.
D tolerantly. (1)
5.2.2 Refer to lines 10-13: “Freddie had met … bits and blazers”.
5.2.2.1 What tone would Dick Peters use when he said “that he had a bombshell
with which he was going to blow Bobby to bits and blazers”? (1)
5.2.2.2 Why would Dick Peters use this tone in these lines? (1)
5.2.3 Explain the irony of Dick Peters wanting “a full audience” (line 16) when he drops his “bombshell” (line 20). (2)
5.2.4 Why is Freddie “gasping for breath” (line 19)? State TWO points. (2)
5.2.5 Explain what is meant by Dick “exploded his bombshell without finesse or ceremony” (line 20). (2)
5.2.6 What does this extract reveal about Freddie’s character?
5.2.7 Mike can be admired. State your view. (3)
[35]
TOTAL SECTION C: 35
Page 53
Here follow the previously prescribed short stories (applicable until the end of 2022).
Question 5A: Short stories

The Doll’s House – Katherine Mansfield
For a moment Lil looked at our Else very doubtfully. But

then our Else twitched her skirt again. She started forward. Kezia led the
way. Like two little stray cats they followed across the courtyard to where
the doll’s house stood.
“There it is,” said Kezia. 5
There was a pause. Lil breathed loudly, almost snorted; our Else was
still as stone.
“I’ll open it for you,” said Kezia kindly. She undid the hook and they looked
inside.
“There’s the drawing-room and the dining-room, and that’s the –” 10
“Kezia!”
Oh, what a start they gave!
“Kezia!”
It was Aunt Beryl’s voice. They turned round. At the back door stood
Aunt Beryl, staring as if she couldn’t believe what she saw. 15
“How dare you ask the little Kelveys into the courtyard!” said her
cold, furious voice. “You know as well as I do, you’re not allowed to talk
to them. Run away, children, run away at once. And don’t come back
again,” said Aunt Beryl. And she stepped into the yard and shooed them
out as if they were chickens. 20
“Off you go immediately!” she called, cold and proud.
They did not need telling twice. Burning with shame, shrinking
together, Lil huddling along like her mother, our Else dazed, somehow
they crossed the big courtyard and squeezed through the white gate.
“Wicked, disobedient little girl!” said Aunt Beryl bitterly to Kezia, and 25
she slammed the doll’s house to.
5.1.1 Choose a description from Column B that matches a name in Column A.
COLUMN A COLUMN B
5.1.1 Emmie Cole A sends a threatening letter to Mrs Burnell
5.1.2 Jessie May B will ask whether the Kelveys will be servants
5.1.3 Willie Brent C rumour has it that he is imprisoned
5.1.4 Lena Logan D alleges that Lil will become a washerwoman
E incites Lena to embarrass the Kelvey girls
(4 × 1 = 4)
5.1.2 Describe the setting of this extract. (2)
5.1.3 Give TWO examples from the story to prove that the Kelveys are poor. (2)
5.1.4 Refer to lines 3-4: “Like two little … doll’s house stood.”
5.1.4.2 Explain this figure of speech as used in the extract. (2)
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5.1,5 Explain the irony in Aunt Beryl’s words: “Wicked, disobedient little girl!” (line 25)
in the context of the story as a whole. (2)
5.1.6 What does this extract reveal about the character of Aunt Beryl?
5.1.7 The Kelveys contribute to the way in which they are treated by others.
Discuss your view of this statement. (3)
AND
Transforming Moments – Gcina Mhlophe
It was Monday afternoon and I was lying on my stomach at my

favourite corner under the black wattle trees when I wrote my first poem.
I’ve never had a child, but the great feeling that swept over me was
too overwhelming for words, maybe that’s how people feel when they
have their first baby, I don’t know. I sat up and read it out loud. I liked 5
the sound of my own voice – I liked to hear the poem. I put the paper
down and ran my fingers on my face to feel my features – the smile that
wouldn’t leave my face, my nose, my cheekbones, my eyes, my ears –
everything just felt fine. My voice sounded like it was a special voice
made especially to recite poems – with dignity. Resonant – was that it? 10
That’s the day I fell in love with myself – everything about me was just
perfect.
I collected my books and the towel I was lying on, stood up and
stretching my limbs – I felt tall and fit. I felt like jumping and laughing
until I could not laugh any more. I wanted tomorrow to come so I could 15
go buy myself a new notebook to write my poems in. A woman praise
poet – I’d never heard of one, but what did it matter? – I could be the
first one.

Father Fikeni takes the speaker to the village to meet the …
A church minister.
B praise poet.
C tribal chief.
D church elders. (1)
5.2.2 Briefly explain how the speaker views herself at the beginning of the story.
State TWO points. (2)
The narrator’s voice was considered “a special voice”. (1)
5.2.4 Refer to lines 3-5: “I’ve never had … their first baby”.
5.2.4.1 What tone would the speaker use in these lines? (1)
5.2.4.2 Why would the speaker use this tone in these lines? (1)
5.2.5 State any benefit that the narrator’s love for reading has in her life. (1)
5.2.6 Refer to lines 14-16: “I felt like jumping … my poems in.”
What is the speaker’s state of mind in these lines? Substantiate your answer. (2)
5.2.7 How does the narrator’s relationship with Bulelwa differ from her relationship with her other classmates?
Refer to the story as a whole. (2)
5.2.8 One of the themes in Transforming Moments is confidence.
5.2.9 Discuss the appropriateness of the title of this short story. (3)
[35]
TOTAL SECTION C: 35
Page 55
5.3.4 Section D: Poetry
If you choose to complete Section D, answer ALL the questions on BOTH poems.
Question 6: Poetry

1 That time of year thou mayst in me behold 9 In me thou see’st the glowing of such fire
2 When yellow leaves, or none, or few, do hang 10 That on the ashes of his youth doth lie,
3 Upon those boughs which shake against the cold, 11 As the death-bed whereon it must expire,
4 Bare ruin’d choirs, where late the sweet birds sang. 12 Consum’d with that which it was nourish’d by.
5 In me thou see’st the twilight of such day 13 This thou perceiv’st, which makes thy love
6 As after sunset fadeth in the west, more strong,
7 Which by and by black night doth take away, 14 To love that well which thou must leave
8 Death’s second self, that seals up all in rest. ere long.
6.1.1 Complete the following sentences by filling in the missing words.
couplet Italian autumn quatrain rhyme English summer octave

In this 6.1.1.1 ___________ sonnet, the speaker compares himself to 6.1.1.2 ___________ in the first
6.1.1.3 ___________ but in the concluding 6.1.1.4 ___________, his thoughts turn to love. (4)
The word “boughs” (line 3) means ...
A needles.
B branches.
C flowers.
D blossoms. (1)
6.1.3 Refer to lines 5-7: “In me thou … doth take away”.
6.1.3.1 Identify the tone the speaker would use in these lines. (1)
6.1.3.2 Why would the speaker use this tone in these lines? (1)
6.1.4 Refer to lines 5-8: “In me thou … seals up all in rest”.
Which TWO separate words suggest that the speaker is middle-aged? (2)
6.1.5 Refer to lines 9-10: “In me thou … youth doth lie”.
6.1.5.1 Identify the figure of speech used in these lines. (1)
6.1.5.2 Explain why this figure of speech is relevant in this poem. (2)
6.1.6 Refer to lines 13-14: “This thou perceiv’st … leave ere long”.
What is the speaker’s state of mind? Substantiate your answer. (2)
6.1.7 In this poem, the speaker can be admired. Discuss your view. (3)
AND
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The Lake Isle of Innisfree – William Butler Yeats

1 I will arise and go now, and go to Innisfree,
2 And a small cabin build there, of clay and wattles made:
3 Nine bean-rows will I have there, a hive for the honey-bee,
4 And live alone in the bee-loud glade.
5 And I shall have some peace there, for peace comes dropping slow,
6 Dropping from the veils of the morning to where the cricket sings;
7 There midnight’s all a glimmer, and noon a purple glow,
8 And evening full of the linnet’s wings.
9 I will arise and go now, for always night and day

10 I hear lake water lapping with low sounds by the shore;
11 While I stand on the roadway, or on the pavements grey,
12 I hear it in the deep heart’s core.
6.2.1 Describe the setting of this poem. (2)

6.2.2 In stanza 1, the speaker wishes to engage in certain physical activities.
State TWO of these activities. (2)
6.2.3 Explain the irony in stanza 2. (2)
6.2.4 Refer to line 10: “I hear lake … by the shore”.
6.2.4.1 Identify the sound device used in this line. (1)
6.2.4.2 Explain why this sound device is relevant in this poem. (2)
The speaker will enjoy the sound of the water at midnight. (1)
6.2.6 What does this poem reveal about the speaker’s character? (2)
6.2.7 One of the themes in The Lake Isle of Innisfree is a longing for peace.
6.2.8 The speaker in this poem is indecisive.
Discuss your views. (3)
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TOTAL SECTION D: 35
Page 57
Question 6A: Poetry

Mid-term break – Seamus Heaney

1 I sat all morning in the college sick bay 13 In hers and coughed out angry terless sighs.
2 Counting bells knelling classes to a close. 14 At ten o’clock the ambulance arrived
3 At two o’clock our neighbours drove me home. 15 With the corpse, stanched and bandaged by
he nurses.
4 In the porch I met my father crying –
5 He had always taken funerals in his stride – 16 Next morning I went up into the room. Snowdrops
6 And Big Jim Evans saying it was a hard blow. 17 And candles soothed the bedside; I saw him
18 For the first time in six weeks. Paler now,
7 The baby cooed and laughed and rocked the pram
8 When I came in, and I was embarrassed 19 Wearing a poppy bruise on his left temple,
9 By old men standing up to shake my hand 20 He lay in the four-foot box as in his cot.
21 No gaudy scars, the bumper knocked him clear.
10 And tell me they were ‘sorry for my trouble’.
11 Whispers informed strangers I was the eldest, 22 A four-foot box, a foot for every year.
12 Away at school, as my mother held my hand
6.1.1 Complete the following sentences by filling in the missing words.
train elegy six embarrassed ode four superior car

In this poem, known as an 6.1.1.1 ________________________, the speaker recalls the death of his brother, aged
6.1.1.2________________________ who died in a 6.1.1.3 ________________________
accident. He feels 6.1.1.4 ________________________when the old men get up to sympathise with him. (4)
6.1.2 Refer to stanza 1.
Quote FOUR consecutive words to indicate that the speaker waited for a long time. (1)
6.1.3 Give the TWO meanings of “a hard blow” (line 6). (2)
6.1.4 Refer to stanzas 2-4: “In the porch ... held my hand.”
Describe the setting in these stanzas. (2)
6.1.5 Refer to line 20: “He lay in … in his cot.”
6.1.5.2 Explain why this figure of speech is used in this line. (2)
6.1.6 One of the themes of this poem is the fragility of life.
6.1.7 Discuss the relevance of the title of the poem. (3)
AND
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Poem – Barolong Seboni

1 We do not need 16 Let us speak, love
2 these jaggered words 17 in gentler tones
3 that dig a trench between us 18 timid as the lamb
4 each time they are uttered 19 is soft
20 woolly words
5 those epithets 21 worn to stand strong against the
6 sharp like spokes 22 cold-bitterness of the world.
7 that pierce the heart when spoken
23 Better still
8 there is no room in my cup 24 let us search in our speech
9 for these acidic words of sarcasm 25 for words deep as the soul is still
10 that corrode my sensitivity 26 that will spell our thoughts
27 in the silence of our smiles.
11 these cold and icy terms tossed
12 to deaden the heart
13 venomous words
14 from your serpentine tongue
15 that infect the feeling …

Refer to lines 2-3: “these jaggered words ... trench between us”.
The figure of speech used in these lines is ...
A apostrophe.
B assonance.
C personification.
D alliteration. (1)
In lines 5-6 the speaker compares kind words to the softness of a lamb. (1)
6.2.3 Refer to stanzas 1-4: “We do not need… infect the feeling …”.
6.2.3.1 Identify the tone used by the speaker in these stanzas. (1)
6.2.3.2 Why does the speaker use this tone in these stanzas? (1)
6.2.4 When the speaker refers to “serpentine tongue” (line 14), does he mean it LITERALLY or FIGURATIVELY?
6.2.5 Refer to line 18: “timid as the lamb”.
6.2.5.2 Explain why this figure of speech is used in this line. (2)
6.2.6 Refer to lines 20-21: “woolly words worn to stand strong against the”.
What atmosphere do these words create? Substantiate your answer. (2)
6.2.7 Using your OWN words, state THREE effects that negative words can have on a person. (3)
6.2.8 Discuss why the speaker uses the words “we” and “us” in the poem. (3)
[35]
TOTAL SECTION D: 35
Page 59
5.4 First Additional Language: Model answers
5.4.1 Section A: Novel

Question 1: Cry, the Beloved Country – Alan Paton
1.1
1.1.1 C (preacher and selfless man who helps Stephen) √
1.1.2 E (kind-hearted landlady who offers Stephen a room) √
1.1.3 A (engineer and an opponent of racial injustices) √
1.1.4 B (denies being an accomplice to Arthur’s murder) √ (4)
1.2 The setting is the Kumalo home √ with Stephen and Mrs Kumalo discussing their savings/the money (to enable
Stephen to go to Johannesburg). √ (2)
1.3
1.3.1 They wanted Absalom to attend (a good) high school/to further his education. √ (1)
1.3.2 C (look for Gertrude) √ (1)
1.4
1.4.1 sad/hopeless/despair/disheartened/bitter √ (1)
1.4.2 She despairs because she knows that Absalom/the family members (who have gone to Johannesburg)
will not return (to Ndotsheni). √ (1)
1.5
1.5.1 Metaphor √ (1)
1.5.2 They have come to realise/never discussed that Absalom will no longer return
(to pursue his studies at St Chad’s). √ (1)
1.6 Stephen Kumalo is deeply religious./He places his fate in God’s hands./He has faith in God./He believes that God
determines one’s destiny. √√ (2)
(Or similar, any two)
1.7 NO.
Absalom comes from a God-fearing family, yet his behaviour does not reflect this./He was raised with good values and
should not have pursued a life of crime./When Absalom moves to Johannesburg, he chooses a life of crime rather than
having to work. √√√
OR
YES.
The family circumstances required Absalom to go to Johannesburg (in search of his aunt)./While in Johannesburg, he
realises that there are no job prospects back home and decides to remain in Johannesburg./Because of his values, he
does not lie when questioned about the murder. √√√ (3)
(Open-ended question, answer YES/NO then motivate. Your response must show understanding of the above
viewpoints and be grounded in the novel. If your answer is not well substantiated, you cannot earn the full 3 marks.)
1.8 Jarvis stays with the Harrisons/Arthur’s in-laws/visits Smith’s daughter. √ (1)
1.9 The heaviest thing for Stephen Kumalo is that his son (Absalom) killed James Jarvis’s son (Arthur)/has been
accused of murder. √ The heaviest thing for James Jarvis is that his son (Arthur) has been murdered. √ (2)
(Include both parts to earn 2 marks.)
1.10 James Jarvis is shocked/stunned/empathetic/understanding/forgiving./He is shocked/stunned by the revelation of
Kumalo/that it is Kumalo’s son who had killed his son./James Jarvis is empathetic/understanding/forgiving when he
does not judge Kumalo for what Absalom had done. √√ (2)
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1.11 Absalom is sentenced to death √ and he is executed (hanged). √ (2)
1.12 Jarvis provides milk for (malnourished) young children./He plans to build a dam./He plans to rebuild the church in his
wife’s name./He pays for an agricultural demonstrator to teach the community proper farming methods. √√√ (3)
(Any three)
1.13 It is ironic that Jarvis should ask Stephen whether he has regained his composure/ control/has “recovered” when
Jarvis himself is deeply shocked/affected by the news. √√ (2)
1.14 The Kumalo family is negatively affected when members of the family go to the city in search of a better life./John
Kumalo leaves for Johannesburg, commits adultery and becomes a corrupt politician./Absalom goes in search of
Gertrude, chooses a life of crime, and eventually becomes a murderer. √√√ (3)
(Your response must be grounded in the novel. If your answer is not well substantiated, you cannot earn the full 3 marks.)
1.15 YES.
The “Cry” in the title is suitable as it explores the many challenges faced during the apartheid era: unemployment,
crime, migration, to mention a few./The country is a reference to South Africa./Arthur Jarvis’s love for his country
(his “beloved country”) is what prompts him to want to improve it. √√√
OR
NO.
The “Cry” in the title of the novel evokes negativity./“The beloved country” in the title creates a false impression
as tremendous suffering is detailed in the novel./A country that is loved does not impose the death sentence on its
citizens as is the case of Absalom.√√√ (3)
[35]
5.4.2 Section B: Drama

Question 4: My Children! My Africa! – Athol Fugard
4.1
4.1.1 E (extrovert and intelligent feminist) √
4.1.2 D (ambitious and respected bachelor) √
4.1.3 B (a good soccer player) √
4.1.4 A (principal of Camdeboo High) √ (4)
4.2 The setting is Zolile High School √ after the debate when Isabel and Thami get to know each other. √ (2)
4.3 Isabel tells Thami that she wishes to study journalism. √ Her detailed description of her breakfast convinces
him that she is indeed a writer/suitable for the career. √ (2)
4.4
4.4.1 Hyperbole (exaggeration) √ (1)
4.4.2 Thami playfully describes his ancestry better than what Isabel described hers/wants to heighten the effect of
his ancestry/wants to emphasise his ancestry. √
In truth he is not the “one hundred thousandth generation”. √ (2)
4.5 Thami’s parents sent him to live in a rural area, assuming he would be safe (from the political turmoil), yet he gets into
“trouble” when he joins the school boycott and the “Comrades”, thereby clashing with the police. √√ (2)
4.6 Isabel is thrilled/gratified/delighted. √ She is in a positive frame of mind and is pleased that she and Thami are getting
to know each other. √ (2)
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4.7 YES.
Mr M only wants what is best for his learners./He is a dedicated and committed teacher who will do anything to teach
his learners./He gives them the opportunity to rise above their circumstances. √√√
NO.
Mr M is too authoritarian in his thinking and teaching./He does not give Thami a chance to express his feelings about
Bantu education./He is in denial of the reality of the political situation. √√√ (3)
4.8 Mr M is killed at Zolile High School. √ (1)
4.9 The comrades. √ (1)
4.10 C (shameful) √ (1)
4.11 Thami should point at Mr M./He should raise his eyebrows. √√ (2)
4.12
4.12.1 sarcastic/condescending/angry √ (1)
4.12.2 Mr M disagrees with Thami’s decision to join the boycott/comrades./He feels it will rob Thami of the opportunity
to complete his education./He thinks Thami is too young to contemplate such actions./Mr M wants to show that
he is superior to Thami. √√ (1)
4.13 Thami abandons his school career/drops out of school. √ He becomes a fugitive. √ (2)
4.14 Thami is loyal, √ he defends the comrades when he responds to Mr M. √ (2)
4.15 Mr M believes that dialogue/communication/words is/are the only legitimate form of struggle./He believes that
violence can be avoided through argument and debate/ and that argument and debate can lead to peaceful
negotiation./He is convinced that violence leads to lawlessness/brutality/destruction/suffering/pain. √√√ (3)
(Or similar, any three. Your response must show understanding of the above viewpoints and be grounded in the drama.
If your answer in not well substantiated, you cannot earn the full 3 marks.)
4.16 The setting of the play is at an African school./The use of the pronoun “My” in the title is a reference to Mr M’s
personal response to the plight of children on the African continent./The use of the exclamation marks emphasises the
fact that the children and the continent of Africa are of concern. √√√ (3)
[35]
5.4.3 Section C: Short stories

This section starts with the new Grade 12 prescribed short stories (for 2023 and onward).
Question 5: Short stories

Rejection – Mariama Bâ
5.1.1
5.1.1.1 E (the narrator’s brother-in-law) √ (1)
5.1.1.2 C (friend of the narrator’s husband) √ (1)
5.1.1.3 A (one of the narrator’s daughters) √ (1)
5.1.1.4 B (the narrator’s errant husband) √ (1)
5.1.2 The setting is the narrator’s home when the Imam/one of her visitors informs her of her husband’s
second marriage/marriage to Binetou. √√ (2)
5.1.3 Mawdo feels guilty/ashamed as he has also left his first wife for a second one. √√ (2)
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5.1.4 The “you” is the narrator’s friend (to whom she is addressing the letter)/Aissatou. √ (1)
5.1.5
5.1.5.1 Metaphor √ (1)
5.1.5.2 In the same way that poison slowly affects the body, the narrator reluctantly accepts that she had been
a good wife in her 25 years of marriage/her husband’s second marriage. √√ (2)
5.1.6 The theme of betrayal features strongly in this short story:
The narrator feels betrayed by her husband who marries a second wife (the same age as his daughter). √
She feels that Binetou has betrayed her after after she had accepted Binetou as her daughter’s friend in their home. √
Daba feels betrayed by Binetou after marrying the man, whom she had ruthlessly ridiculed, turns out to be Daba’s
father. √ (3)
5.1.7 YES.
The narrator has been a faithful wife for 25 years and a loving mother to her children. √
She feels humiliated by her husband’s marriage to a girl who could be his daughter. √
Her brother-in-law, Tamsir, is not genuine when he wants to marry her after Modou’s death. √ (3)
OR
NO.
The narrator does not stand up to Modou and Binetou. √
She ignores her daughter’s suggestion to divorce Modou.√
She is stubborn as she could have engaged Modou’s help with raising 12 children. √ (3)
(Open-ended. Or similar, any three. Your response must show understanding of the above viewpoints and be
grounded in the short story. If your answer in not well substantiated, you cannot earn the full 3 marks.)
Forbidden Love – Can Themba

5.2.1
5.2.1.1 Meneer Carelse. √ (1)
5.2.1.2 He is contemplative/reflective as he thinks back on his own school days. √√ (2)
5.2.1.3 C (longingly) √ (1)
5.2.2
5.2.2.1 Self-satisfied/confident/menacing √ (1)
5.2.2.2 He wants to take revenge on Bobby for teasing him non-stop.√ (1)
5.2.3 Dick Peters wants to humiliate Bobby in the presence of the all the boys but he ultimately gets beaten up by
Bobby in full view of everyone present. √√ (2)
(Include BOTH parts of the answer to earn 2 marks.)
5.2.4 Freddie has been running to and from the History class. He was tired and did not want to miss Bobby’s revelation. √√ (2)
5.2.5 Dick displayed no sensitivity or politeness when he announced the unpleasant news. √√ (2)
5.2.6 Freddie is sadistic/vindictive as he is eager to see Bobby being hurt/humiliated. √√ (2)
5.2.7 YES.
Mike is sensitive and caring when he wants to protect Dora whenever they meet in secret. √
He reassures her when she expresses fear at her father’s feelings towards Africans.√
He is disapproving of his sister’s decision to remain silent about the father of her child who does not take
responsibility for it. √ (3)
OR
NO.
Mike is not assertive enough to stand up against Dora’s family. √
He does not accompany Dora to the cinema and instead suggests that they go separately. √
He does not retaliate even though he is beaten up by the group of coloured boys. √ (3)
(Open-ended. No mark is awarded for YES/NO. Or similar, any three. Your response must show understanding of
the above viewpoints and be grounded in the short story. If your answer in not well substantiated, you cannot earn
the full 3 marks.)
[35]
Page 63
Here follow the previously prescribed short stories (applicable until the end of 2022).
Question 5A: Short stories

The Doll’s House – Katherine Mansfield
5.1.1
5.1.1.1 D (alleges that Lil will become a washerwoman) √
5.1.1.2 E (incites Lena to embarrass the Kelvey girls) √
5.1.1.3 A (sends a threatening letter to Mrs Burnell) √
5.1.1.4 B (will ask whether the Kelveys will be servants) √ (4)
5.1.2 The setting is the Burnell yard/house/property after Kezia invites the Kelvey girls to come and have a look at the doll’s
house. √√ (2)
5.1.3 Mrs Kelvey goes from house to house working as a washerwoman./She makes her children’s garments from pieces of
material given to her by the people of the town./The Kelvey girls ate jam sandwiches wrapped in newspaper. √√ (2)
(Any two)
5.1.4
5.1.4.1 Simile √ (1)
5.1.4.2 Aunt Beryl compares the Kelvey girls to cats who do not have an owner and are thus unwelcome
on her property. √√ (2)
5.1.5 Aunt Beryl refers to Kezia as a “wicked little girl”, yet Aunt Beryl is wicked/cruel in her treatment of both the Kelvey
girls and Kezia. √√ (2)
5.1.6 Aunt Beryl is unfeeling/nasty/cruel/snobbish/rude when she tells Kezia that she is not allowed to talk to the Kelvey
girls/tells the Kelvey girls they are not to return. √√ (2)
5.1.7 YES.
The Kelveys are not assertive enough, as they do not challenge those who are condescending towards them./Their
body language suggests that they accept the harsh treatment of people towards them./Mrs Kelvey dresses her
children in a manner that makes them appear ridiculous. √√√
OR
NO.
No one deserves to be treated in the manner that the Kelvey girls are treated./It is not their fault that they are poor/
come from a lower social standing./Their poverty does not mean that they are inferior to other members of the
community. √√√ (3)
Transforming Moments – Gcina Mhlophe

5.2.1 B (praise poet.) √ (1)
5.2.2 The narrator calls herself ‘Miss-ugly-top-of-the-class’./She thinks she is physically ugly./Her hair is dry like grass/
unruly./She has knock knees./She has big feet. √√ (2)
(Any two)
5.2.3 The narrator’s voice was considered to be too deep/unsuitable, and she was therefore dismissed from the choir. √ (1)
5.2.4
5.2.4.1 Excited/joyous/enthusiastic. √ (1)
(Any one)
5.2.4.2 She has written her first poem and has very positive feelings about this. √ (1)
5.2.5 The narrator develops a love for words which allows her to write good essays at school./Reading makes her a good
student./She later becomes a poet and a writer. √√ (1)
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5.2.6 The narrator is in a state of elation/happiness./She is pleased with herself because she discovers that she likes the
sound of her voice and everything else about herself. √√ (2)
5.2.7 The speaker’s relationship with Bulelwa is sincere, √ unlike the relationship with her other classmates who exploit
her. √ Bulelwa is a true friend who does not tease her about boys √ or use her to do her (Bulelwa’s) homework like
the others do. √ (2)
5.2.8 The speaker grows confident about her ability to write/write poems./Her confidence grows when she discovers her
voice is ideal for public speaking./She eventually approves of her physical features/is unaffected by the comments of
others. √√√ (3)
5.2.9 APPROPRIATE.
It is a reference to the moment of “illumination” the speaker experiences when she attends the performance by the praise
poet./This is the moment she starts transforming./She can now give birth to a wonderful poem./Her negative self-image is
replaced by a feeling that everything about her is just perfect./She starts to appreciate her resonant voice. √√√ (3)
[35]
5.4.4 Section D: Poetry

Question 6: Poetry
6.1.1
6.1.1.1 English √ (1)
6.1.1.2 autumn √ (1)
6.1.1.3 quatrain √ (1)
6.1.1.4 couplet √ (1)
6.1.2 B (branches) √ (1)
6.1.3
6.1.3.1 sadness/melancholy/acceptance √ (1)
6.1.3.2 The speaker sadly realises that he is nearing the end of his life/his is not a permanent/mortal life. √ (1)
OR
He comes to accept the aging process as he realises that aging is inevitable. √ (1)
6.1.4 “twilight” (line 5) and “sunset” (line 6) √√ (2)
6.1.5
6.1.5.1 Metaphor √ (1)
6.1.5.2 Just as embers cannot exist without a fire, so too can the speaker’s old age not be attained without
his youth. √√ (2)
6.1.6 Acceptance/submission. The speaker accepts the finality of life and instead pleads for love even after his death. √√ (2)
6.1.7 YES.
The speaker frankly admits that he is nearing old age and has come to terms with the process of aging. √
He realises that life is not permanent and that old age and death for him are inevitable. √
He does, however, focus on love (a positive aspect) in the couplet when he maintains that the strong love that they
share will continue after death. √ (3)
OR
NO.
The speaker uses many negative images as he ponders his old age, for example, “ruined”, “Death” and “consumed”. √
These negative images create a sombre mood, especially the image of the “dying fire”. √
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The speaker touches on the finality of death, which is in itself as sombre subject. √ (3)
(Open-ended. No mark is awarded for YES/NO. Or similar, any three. Your response must show
understanding of the above viewpoints and be grounded in the poem. If your answer in not well substantiated,
you cannot earn the full 3 marks.)
The Lake Isle of Innisfree – William Butler Yeats

6.2.1 The setting is London as the speaker contemplates going to Innisfree/imagines life at Innisfree. √√ (2)
6.2.2 The speaker will build a cabin/plant beans/create a bee hive. √√ (2)
(Any two)
6.2.3 The speaker longs for peace yet the sound of crickets and the flapping of birds’ wings are noisy. √√ (2)
(Provide both parts to earn marks)
6.2.4
6.2.4.1 Alliteration √ (1)
6.2.4.2 The l-sound/lilting sound in this line recreates the sound made by the waves  and has
a calming effect as the speaker stands on the shore. √ (2)
6.2.5 The speaker will enjoy the sound of the water for the entire day/24 hours/”always night and day”. √ (1)
6.2.6 He is appreciative/naturalistic/idealistic/determined.  He appreciates the peace and beauty of nature. √ (2)
6.2.7 The speaker wants to escape the din of the city of London.  He describes how he will attain that peace
which he desires so intensely by engaging in activities and enjoying the natural sights and sounds. √
The calming effect that the water from the lake will have on him strengthens this intense desire for peace. √ (3)
(Or similar, any three. Your response must show understanding of the above viewpoints and be grounded in
the poem. If your answer in not well substantiated, you cannot earn the full 3 marks.)
6.2.8 YES.
The speaker expresses his intention to go to Innisfree but by the end of the poem he has done nothing
constructive to go there. √
He enumerates all the things he would like to do for example building a cabin, planting beans, yet nothing
materialises. √
He longs for peace; however, he merely fantasises about it. √ (3)
OR
NO.
The speaker appears to be intent when he emphasises that he will go to Innisfree (… go now, and go …). √
He has a deep personal connection with Innisfree in which nature summons him yet he does not heed to its call. √
He has a yearning to go to Innisfree but it appears that he remains stuck in the city. √ (3)
(Open-ended. No mark is awarded for Yes/NO. Or similar, any three. Your response must show
understanding of the above viewpoints and be grounded in the poem. If your answer in not well
substantiated, you cannot earn the full 3 marks.)
[35]
Question 6A: Poetry

Mid-term break – Seamus Heaney
6.1.1
6.1.1.1 elegy √
6.1.1.2 four √
6.1.1.3 car √
6.1.1.4 embarrassed √ (4)
6.1.2 “I sat all morning” √ (1)
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6.1.3 The death of the speaker’s brother, which is tragic/traumatic/a terrible loss. √ The heavy impact of the accident/the car
hit the child quite hard, which caused the death of the speaker’s brother. √ (2)
6.1.4 The setting is the speaker’s home √ after he has been fetched from school/college by the neighbours. √ (2)
6.1.5
6.1.5.1 Euphemism √ (1)
6.1.5.2 The neighbours soften the issue/are sensitive by referring to “troubles” instead of directly referring to “death”. √√ (2)
6.1.6 The reader is reminded of the fragility of life when the speaker’s brother dies suddenly after a car accident./Death comes
without warning and can happen to anyone at any given time./The poignancy/sadness is tangible especially because it
portrays the death of such a young child, which again emphasises how fragile life is. √√√ (3)
6.1.7 The title seems to suggest that the poem will be about time off school/a holiday/fun. However, by the end of the poem,
we realise that it is a break in the family unit/the cutting of ties when the younger brother dies./The speaker is allowed
to go home in the middle of the term because of this death. The family is devastated/emotionally broken. √√√ (3)
Poem – Barolong Seboni

6.2.1 C (personification.) √ (1)
6.2.2 In lines 5-6 the speaker compares hurtful/insulting words to the sharp spokesof a wheel. √ (1)
6.2.3
6.2.3.1 cautionary/irritated/annoyed/disappointed √ (1)
(Any one)
6.2.3.2 The speaker cautions people to stop using language that causes division/emotional pain/humiliation. √ (1)
6.2.4 FIGURATIVELY, √ one’s tongue can be like a venomous snake when using hurtful words. √ (2)
6.2.5
6.2.5.1 Simile √ (1)
6.2.5.2 In the same way that a lamb is associated with innocence/kindness/not being harmful, √ so too
should words be used in a gentle/uplifting/ encouraging manner. √ (2)
6.2.6 The atmosphere is positive/soft/comforting √ and imitates the speaker’s desire for kinder/gentler conversation. √ (2)
6.2.7 Negative words can cause division between/among people./Sharp words can tear/cut into a person’s heart and
mind, making them difficult to forget./ Sarcasm/hurtful words can make one insensitive/unfeeling. √√√ (3)
6.2.8 “We” and “us” are used collectively./By using “we” and “us” the speaker conveys a personal/universal message./
The speaker includes everyone/his beloved./The speaker shows that victimisation through words is not isolated./
The advice and recommendations that are given are also universal and not limited to one person. √√√ (3)
(Or similar, any three. Your response must show understanding of the above viewpoints and be grounded in
the drama. If your answer in not well substantiated, you cannot earn the full 3 marks.)
[35]
Page 67
SUMMARY
We hope that this guide will help you
to answer Paper 2 with confidence.
If you want to achieve success, you
need to study the prescribed texts
and literary terms well during the
course of the year.
Make sure you read the instruction to each question very carefully
and stick to what the topic requires.
Page 68
NOTES
Page 69
NOTES
Page 70
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Your Examination

Through AVBOB STEP 12, AVBOB is making available 33 Examination Preparation

As the Department of Basic Education, we encourage Grade 12 language teachers and

On behalf of the Department of Basic Education

Mrs Angie Motshekga, MP

3.1 Section A/Section D* : Poetry 05

3.2 Section B/Section A* : Novel 08

3.3 Section C/Section B* : Drama 09

3.4 Section C: Short Stories (First Additional Language only)* 10

4 List of literary terms 11

5.1 Home Language: Example questions 26

5.2 Home Language: Model answers 38

5.3 First Additional Language: Example questions* 47

5.4 First Additional Language: Model answers* 60

* First Additional Language sections

YOU SHOULD KNOW WHAT THE CAPS SAYS

TABLE OF CONTENTS (EXAMPLE)

PAPER 2: 2½ HOURS, 80 MARKS, 3 SECTIONS

FIRST ADDITIONAL LANGUAGE

PAPER 1: 2 HOURS, 70 MARKS, 4 SECTIONS

SECTION C: SHORT STORIES

What kind of questions can I expect?

3.1 Section A/Section D: Poetry

3.1.1 How do I answer the questions on poetry?

As you apply this approach, keep the following in mind:

3.1.2 Section A: Question 1

 Explain the point.

 Provide evidence from the text to

 Link your point to the question.

3.1.3 Section A: Questions 2-5/Section D: Question 6

3.2.1 How do I answer the essay questions on the novel?

 Explain the point.

 Provide evidence from the text to

 Link your point to the question.

3.3 Section C/Section B: Drama

3.3.1 How do I answer the essay questions on the drama?

3.3.2 How do I answer the contextual questions on the drama?

3.4 Section C: Short Stories (First Additional Language only)

YOU NEED TO STUDY THESE TERMS!

Home Language First Additional Language

Home Language First Additional Language

Home Language First Additional Language

Home Language First Additional Language

Home Language First Additional Language

Home Language First Additional Language

ASSONANCE (VOWEL RHYME)

Home Language First Additional Language

Home Language First Additional Language

Home Language First Additional Language

Home Language First Additional Language

Home Language First Additional Language

CONFLICT (INTERNAL vs EXTERNAL CONFLICT)

Home Language First Additional Language

Home Language First Additional Language

Home Language First Additional Language

Home Language First Additional Language

Home Language First Additional Language

Home Language First Additional Language

ELLIPSIS/MARK OF OMISSION (…)

Home Language First Additional Language

Home Language First Additional Language

Home Language First Additional Language

Home Language First Additional Language

Explain the point.

Provide evidence from the text to

Link your point to the question.

Explain the point.

Provide evidence from the text to

Link your point to the question.